What the Hell Happened to Mike Myers?

mike myers

Mike Myers

Mike Myers successfully made the transition from Not Ready for Prime Time Player to movie star.  His characters and catch-phrases were inescapable.  Myers wasn’t just a comedian, he was shaping pop culture.  And then, he stopped.

What the hell happened?

Mike Myers – Saturday Night Live – 1989-1995

Myers’ first acting job was on a TV commercial when he was 10 years old.  The commercial co-starred Gilda Radner, who was about to become a star on Saturday Night Live.  In 1989, Myers would follow in Radner’s footsteps as a cast member of SNL.

Myers - King of Kensington

Mike Myers – King of Kensington – 1975

In 1975, a young Myers appeared on the Canadian sitcom, King of Kensington.

Many years later, Myers named the character played by Elizabeth Hurley in Austin Powers “Vanessa Kensington” in tribute to the TV show that gave him his start.

Myers - Little Hobo

Mike Myers – Little Hobo – 1979

In 1979, Myers appeared on another Canadian TV show, The Littlest Hobo.  The show is about a stray German shepherd named London who wanders from town to town helping people in need.  Sort of Lassie meets The Incredible Hulk.  In the episode Myers appeared on, London encourages a child in a wheelchair to participate in a freisbee competition.

To date, no characters have been named after The Littlest Hobo.

In 1982, Myers joined the Canadian touring company for Second City immediately out of high school.  From there, he moved to the United Kingdom.  In 1985,  Myers was one of the founding members of The Comedy Store Players, an improvisational group based in London.

Myers also played a delivery boy in the TV movie, John and Yoko: a Love Story.  Here’s a clip with both of his lines.

In 1986, Myers starred in the British children’s TV program Wide Awake Club.  Myers satirized the show’s typical energy with his own bit, the  “Sound Asleep Club”.

myers - wide awake

Mike Myers – The Wide Awake Club – 1986

Here’s a retrospective about The Wide Awake Club which includes some footage of Myers doing his bit on the show.

Next: Wayne, Dieter and SNL


Posted on October 3, 2012, in Movies, Saturday Night Live, TV, What the Hell Happened?, WTHH Actor and tagged , , , , . Bookmark the permalink. 285 Comments.

  1. Danielle Charney

    I for one, have never like MM- ever- never liked his brand of humor- so I can’t add much- good post though, as always- plus I have this flu and it’s effecting my ability to a thing


  2. What a great article. Been waiting for Myers. I must say, though, that without the wonderful world of Shrek, he’d be broke. The ONLY live movie of his that I liked was Ax Murderer. And Love Guru is so bad it doesn’t even qualify as a film…yes, it is that bad.

    I have a personal theory. (besides Myers pissing everyone off)

    There are just certain comics and script writers that were funny to mainstream audiences in the 90s that just aren’t funny anymore. Our tastes have moved on. I think good examples would be Myers and the Farrelly brothers.


    • One reason I haven’t done a lot of comedians is that I think they have an expiration date. Comedians usually can’t stay on top of their game for very long.


    • Also, it can be argued that part of Mike Myers’ problem as time went on is that went from being a clever guy to someone who banks on his star power assume people will “just laugh”. To put it in another way, Mike Myers is the type of guy who seemingly prefers to make himself laugh first, rather than his audience.

      Another argument that I’ve heard is that Mike Myers seems to only make movies when he can think up enough jokes to try to turn into forced memes to fill up an hour and a half (and then throw a loose story around them).


  3. You forgot one of his most memorable TV appearances—standing stunned next to Kanye West at the Karina-a-thon when he declared that George Bush hates black people. =)

    I always get excited when the next installment of WTHHTx shows up in my inbox. Keep it up!


    • I’m glad to hear you enjoy the articles. I’ll keep ’em coming.

      The Katrina telethon was classic! Part of what made it so great is that Myers is Canadian. He just looked like a deer in headlights. A Canadian caught in awkward American politics. I never laughed so hard at a hurricane relief event.


  4. Yep. As I read your first two paragraphs it was immediately clear WTHH to him. He’s a jerk and nobody can stand him. I remember some of these stories too now that I think back on it. How difficult he was/is and his prima donna attitudes. Gotta admit the Austin Powers flicks cracked me up and so did Waynes World. I have them all in my dvd collection. Also gotta admit they don’t hold up well over time. I have rewatched a few of them this past year and the laughs weren’t as good. AP 1 and 2 are still pretty darn funny though.

    I think it’s already been said; his humor is so 90’s and we’ve moved on. Plus he’s Canadian so how seriously can we really take his plights?!? (jk to any of our Canadian brethren who might be checking in 😉 )


    • Yeah, we love Canada! (Le Blog is quite popular there. Must be the faux French name.)

      I’m with you. Myers has always cracked me up. Even in a stinker like View From the Top, he still gets some laughs from me. I will always have a soft spot for the first Austin Powers. And the second one is still fun if not nearly as original.

      I will actually surprised if Myers doesn’t have a comeback eventually. I don’t think he’ll ever recapture his A-list status from the peak of Austin Powers-mania. But I think he’ll come back with a hit comedy eventually.

      Either way, dude has some issues! And that always makes for a great read.


      • What is the story with the French name?


        • Prepare to be underwhelmed. Lebeau was one of my high school nicknames. When it came time to pick a screen name, it was available. Then when I needed a name for my blog, I started playing around with things. A lot of my early movie-related choices weren’t available. Since I hadn’t fully decided on the content of my blog, I just started kicking around really generic names. Since my screen name was “Lebeau” I came up with “Lebeau’s Le Blog” and liked the sound of it. It made me chuckle. And not surprisingly, it was available. So I snatched it up.

          I figure it’s somewhat appropriate. Part of the genesis of the nickname was that I was the only boy in my senior French class. (“Le beau” means “the boy”.) It also comes from the character in “Hogan’s Heroes” who was French. But mostly, it was just a silly play on my name. I was also called Labes and Lebowski alot. Or pretty much anything silly that contained an L and a B. I had goofy friends in high school.

          Short answer: It sounded silly.


        • I totally get that. My real last name is synonymous with serious drinking, which I hate. After enjoying an English character named Nathaniel Drinkwater, I chose Shortwinter as my writer/artist name.


        • The problem with Lebeau (especially when I was writing comic book reviews) is that it is also the name of the X-Men character, Gambit, who sucks. So, I get that a lot. Less now that I am not writing about comic books.


        • Combination of things. Lack of time. Lack of money. Comics are ridiculously expensive. And frankly, lack of interest. There are still books I enjoy, but they are farther and fewer between than they used to be. Comics moved in the direction of being “edgy” for the sake of it. I don’t mind dark material, but I don’t want to read about rape in every other Justice League comic. It has gotten to the point where you just expect supporting characters (usually minorities) to be killed off or dismembered in every story. But, I guess that’s what sells these days.

          At the end of the day, I decided my time and entertainment dollar were better spent elsewhere. Which frees me up to spend my blogging time writing about washed up celebs instead of complaining about the latest issue of Aquaman.


        • The only comic I buy is Heavy Metal, since 1981. Do you know it?

          BTW, I don’t write posts about military vehicles (which I love and restore regularly) because nobody cares.


        • I have flipped through a couple issues of Heavy Metal. Never actually bought a copy. It looks interesting. And of course I have seen the animated movie a few times.

          There are people who care about comics. We’ve had a pretty good following over at read/RANT, the comics site I wrote for. But I have a lot more fun here.


        • daffystardust

          I came back to look at this article because we’d had a quick conversation about Myers last night in rehearsal. I was amused to find that somebody gave a thumbs down to the story about your nickname. Yeah, thumbs down to you too, buddy!

          In my memory there was a lot more evidence of Myers being a pain in the butt, but mostly what I’m seeing here is early with Carvey and Spheeris and then the feud over the Deiter film with Howard which is one where a reasonable person might take his side. (might)

          Mostly it just seems like he repeated himself too much and people got tired of him and then the Love Guru was a despised bomb.


        • You should try Reddit. The down-voting there is vicious and it has consequences. Too many downvotes and your ability to post is restricted.

          This is one of those judgement call things. There’s not as much factual evidence as it feels like there should be. And yet, I feel pretty confident that Myers is a huge pain in the ass. Anecdotally, I have read too many stories which end with Myers telling a fan to go f#ck them selves and not a single one in which he treated a fan with humor or respect.

          When it comes to collaborators, there’s an unwritten rule that you don’t criticize the people you work with publically. I know if I were working in Hollywood, I would keep my mouth shut no matter how awful someone was. Especially if they are successful. I get the impression that with Myers, no one wanted to be openly critical and have it bite them on the butt. They may be silently rooting for him to fail and cheering when he does. But they aren’t going to do so publically.

          Spheeris can because Myers had her fired. He already did all the damage he can do to her career. Carvey has actually never been really critical of Myers. He denies there was ever any kind of feud between them. But at the end of the day, Myers still tried to write Garth out of Wayne’s World.

          You will see a lot of people talk about how Myers is a “perfectionist” or similar language. That’s flattering in a way, but it’s also code for “pain in the ass”. Some of that can be tolerated and even admired if the result is some higher form of art. But when the result is Goldmember, then someone is just needlessly being an asshole.

          To be fair, I have kind of gone the other way in other situations. Linda Fiorentino, for example, is notoriously difficult to work with. When I wrote her up, I found very little evidence beyond Kevin Smith’s say-so to back that up. I suspect Fiorentino probably did rub some people the wrong way. But I give her the benefit of the doubt that she isn’t as bad as her toxic reputation.

          It’s possible I have been unfairly judging Myers or letting Fiorentino off easy. But at the end of the day, I don’t think it matters all that much. We’ve talked before about my “lunch” theory. I suspect if you sat down to lunch with most successful Hollywood types you’d come away thinking they were arrogant jerks.


        • I don’t know about that last one, Lebeau. How do you think many of these people became the successes they are? Often it was based on their ability to charm the right people. I’m sure sometimes that comes off very fake, but I would bet that in many more cases their skill in this is pretty impressive and even genuine. If an actor comes into an audition and reads well but acts like an unbelievable jerk prior to being a really big deal they will tend to not get cast. Maybe many performers become unbearable asses once they become successful, but if they had that charm to begin with do we think that just goes away completely?


        • Look over the list of WTHH subjects. What percentage do you think would make good lunch companions? I imagine a lot of self-aggrandizing stories. And that’s just my half of the conversation.


        • Among just the male WTHH subjects I counted 17 I thought might be a decent lunch companion if you got shoved together at the studio cafeteria. Maybe I’m too willing to believe the best of people unless they’ve proven otherwise. Also, keep in mind that by confining that question to the WTHH members you are automatically including a number of human train wrecks who are members of WTHH for that very reason. Many of the most revered actors in the business (say Streep or DeNiro) are consistently lauded by costars for their generosity and team attitude. Fame can make a person very guarded or suspicious or give someone a big head or a sense of entitlement, but I also think there are plenty of famous people who are just regular folks who happen to be really talented. Robert Duvall is consistently cited as a very down to earth guy, for example.


        • That’s 17 out of 42. Of course I stacked the deck by limiting your choices to WTHH subjects. Robert Duvall? He’s not exactly what I had in mind when I said “successful Hollywood types”. Yes, I realize he is successful and connected to Hollywood. But I was really talking about movie stars. Although if you can arrange a lunch date with Streep, I will definitely keep that appointment. She seems delightful.


        • You guys are killing me here… in the realm of planning just what we would do and say to who and when and how with our winning lottery tickets…. I’d have lunch with just about anyone featured on these pages, just for the stories they could tell! Of course, everyone also has a PR machine that would have pre-arranged almost every utterance. Still, it would be interesting all the same.


        • If I got to pick, I’d have lunch with Daffy Stardust! You should hear his wild stories.


        • daffystardust

          The more savory the food, the less savory the stories.


      • as a sports fan, “Lebeau” first reminds me of Steelers/Lions Hall of Fame defensive back/defensive coordinator Dick Lebeau.

        Gambit was ok by me until he became so popular and they failed to actually develop his personality while still featuring him a lot. just >yawn< after that. And what was with his costume? Either have a super hero costume and lose the trench coat, or don't have a super hero costume. Trying to split the difference was just dumb.


        • I am sports illiterate. But I know the name. That is it though. No idea who he is.

          As for Gambit, I was just never an X-Man fan. As one of the lamer X-Men, I just never got his appeal. I assume it was coolness factor rubbing off on him because he got to mack on Rogue. You’re absolutely right about the costume. Jim Lee is a great artist, but his character design is god awful. Which makes you wonder who let him redesign the entire DC universe!

          Back before I read comics, my younger brother used to compare me to Cyclops and himself to Wolverine. I used to think that was cool because the only two things he told me about Cyclops were that 1. He was the team leader and 2. He had a hot red-head girl friend. What I didn’t realize was that Cyclops was and still is a massive tool and Wolverine is awesome.


  5. I know this may sound cruel, but I really hope a comeback is not in the cards for Myers, because, on top of the fact that he has a crappy sense of humor & is even less collaborative than George Lucas, if his idea of a ‘labor of love’ is a godawful flick like ‘Love Guru,’ then the only kind of thing he could do for an encore is a movie in which everyone communicates by farting.


  6. At one point on, Myers was listed to portray the late Keith Moon, drummer for The Who, in a biopic to be produced by Who lead singer, Roger Daltrey. (Myers was already 10 years older than Moon was at the time he died.) You know Myers’ star had fallen when there were hundreds of petitions from Who fans going around against Myers playing the lead role. Now Myers name is no longer associated with the project.


  7. In some ways, I think Myers was lucky to have gotten a career beyond SNL, where he shone (even then I thought Carvey was more talented) but the first AP movie is one of my all time favorites. So much so that I never watched 2 and 3. Why, why why do I love International Man of Mystery so much, with so much sophomoric humor in it? Because.. it’s one of those movies where everything all together in the finished product, just kind of works. The actors/script/visuals/soundtrack all just kind of blended together seamlessly into something that became part of my “Buy DVD/Watch 50 times” collection.


    • On this one, we agree 100%. If I had been placing bets in 1992, I would have bet against Myers having a film career. I also would have bet on Carvey having more success than he did – although that was largely due to health problems.

      The first Austin Powers really is wonderful. The sequels have tarnished it a little in my mind. But if you can separate the original from the sequels, there’s a lot of originality and joy in that first movie.


      • You can make the argument that a large part of appeal in the first “Austin Powers” film (and what made it so great in the first place) was the simple concept of having a man completely out of the loop be revived. He in the process, has to adjust to having 30+ years of change happen in an instant by his timeline. It therefore made for not just some of the best bits, but best plot points as well. That whole charm and element was gone for the second and third films since the first film ended with him more or less “getting it”; even if he went back in time in the next two films, Austin really didn’t need to adjust to that at all.


        • That is it exactly. The first film was a loving look at the 60s from the point of view of the 90s. It was a great fish out of water story that couldn’t be duplicated. It had a sweetness that came from Myers’ genuine affection for the psychadellic spy flicks of the era and the music of Burt Bacharach.

          The sequels just replayed the best jokes of the series over and over.


        • You can make the argument that Mike’s best films (e.g. the first “Wayne’s World” and “Austin Powers” respectively) clearly had a message to get across (and it wasn’t Mike simply cashing in or trying to be as weird and outrageous as possible). For example, “Wayne’s World” (at least the first one) wasn’t simply a “Saturday Night Live” skit turned into a feature length movie, it satirized the music and television industry and mentality of the time.

          This is an interesting observation of how “The Love Guru” could’ve actually been salvageable had Mike been more able to address certain points/themes in a more coherent and intelligent way:

          There are actually kernels of really great ideas in here, about cross-cultural validation and race. One of the main characters is a black hockey player, described as “the Tiger Woods of hockey.” So, why does it take a black superstar to validate a sport? Why are these sports/cultures so racially segregated even today? Why does western culture feel the need to commodify Hinduism into Oprah’s Book Club-style bite-sized bits before that culture can be validated? None of these questions are addressed in any coherent or intelligent way, but they could have been, which makes the film’s outrageous un-humor all the more disappointing.*

          *Elaboration: I don’t think comedies have to address weighty issues directly, but if those themes are present, they can add to the humor; like the jokes are a relief to the weightiness inherent in those ideas. You know, how Ghostbusters deals with themes of the afterlife or The Hangover deals with themes of regret and guilt. Those movies are good because they know how to make jokes about things that make us uncomfortable


        • Bad Movie Beatdown: The Love Guru:

          Film Brain finds there’s no love lost when it comes to the movie that infamously ended Mike Myers’ career – through pain, we can let the spiritual healing begin. Contains strong language, frequent moderate sex references and slapstick violence. This work is protected by Fair Use.


        • 15 Most Annoying Movies Of All-Time:

          The Love Guru

          If you build a movie around an insufferable character, then chances are you’re going to wind up with an insufferable movie. That’s exactly what happened with The Love Guru, a motion picture so unfunny that it actually killed Mike Myers’ career. Had The Love Guru been just unfunny, though, the film might have been somewhat forgivable – unfortunately, it is a grueling exercise in testing one’s patience that seems designed as a laughter-killer.

          Mike Myers plays the central character of the title, of course, and in doing so he winds up crafting one of cinema’s most intolerable protagonists. There are no proper jokes in The Love Guru; the film gets by, instead, on being slightly racist and overtly sexiest for all of its runtime. It’s so exhausting to sit through on the basis that nothing sticks. Having sat through the entire film, the inevitable next step is to take a long, contemplative holiday.


        • Zoolander 2 and Comedy Sequels: A Cautionary Tale

          Action comedies tend to have things a bit easier. People hold their favorite cult classics to a higher standard than summer popcorn fare. But as long as action comedies stick to the Three Year Rule, the results range from passable to an improvement on the original work. And when it came to the Golden Age, there was no greater success story than Mike Myer’s Austin Powers trilogy.

          From the first, “Yeah Baby,” Mike Myers’ Austin Powers was destined to become the grooviest film comedy icon of the decade. Coinciding with the Pierce Brosnan Bond years, films that at times felt like parodies, Austin Powers seemed to hit at the perfect moment in popular culture when offbeat heroes could shag alongside the classier ones. Austin Powers: International Man of Mystery earned $67 million worldwide on a fairly low $16.5 million budget. The humble James Bond parody turned franchise when 1999’s The Spy Who Shagged Me elevated the original entry by introducing two character to that to this day are as polarizing as Myers’ Austin Powers and Dr. Evil: Mini-Me and Fat Bastard.

          The scope of how Austin Powers and his adversaries took over the world is best told through an anecdote from a 2014 GQ profile. Myers recalled opening a letter sent to him on the day he was set to shoot the film within in a film scene for Austin Powers in Goldmember. It was from original Beatle George Harrison, and Myers opened the letter, in tears, on the day he died.

          He says “…sitting here with my Dr. Evil doll…I just wanted to let you know I’ve been looking all over Europe for a mini-you doll.” And he says “Dr. Evil says frickin’ ” but any good Scouser dad will tell you it’s actually ’friggin’ as in a ’four of fish and finger pie’, if you get my drift.” He said, “thanks for the movies, so much fun.”

          The late ‘90s had plenty of highly quotable goofball comedies, but few still hold up today as well as Austin’s second big screen adventure does. The Spy Who Shagged Me was a runaway success, cracking the $200 million mark domestically and pulling in more than $300 million worldwide. Austin Powers in Goldmember followed suit, earning just a tick under $300 million after its 2002 release.

          Goldmember was the most ambitious, yet convoluted, film in the franchise, a star-studded affair that is slightly more gracious than most comedy sequels these days. Thankfully, they saved most of the cameos for the beginning and the end, including Danny DeVito’s unforgettable turn as Mini-Me. For a third comedy film, Goldmember surprisingly hits far more often than it misses, again on the strength of new faces that kept old gags fresh, including the titular Goldmember, Michael Caine’s perfect casting as Austin’s sweet talking “fasha,” and an increasingly more evil Seth Green as Scotty.

          A fourth installment has been kicked around for some time, but given Mike Myers’ recent filmography (well mostly just The Love Guru), and how far outside the Three Year Rule this one is, it might be best to keep this one a trilogy.


      • Yeah, Dana Carvey (you can argue that among the late ’80s early ’90s “SNL” cast-members, he was supposed to be the big break-out star in terms of film success) had a botched heart operation in the late ’90s that put him out of commission for a while. He tried to make a comeback w/ “Master of Disguise” but it really didn’t amount to anything because of it’s mostly negative feedback.


      • 10 Terrible Film Sequels That Somehow Made It To Cinemas:

        4. Austin Powers: The Spy Who Shagged Me (1999)

        Sequel To: Austin Powers: International Man of Mystery, a spoof of the James Bond series which cemented Mike Myers’ pop culture status after the success of Wayne’s World 1 & 2.

        Who Made It?: Jay Roach, who also helmed the first film. No excuses then.

        Why Was It Made?: Austin Powers was a big hit on both sides of the Atlantic, coinciding with the Cool Britannia trends in Britain and the recent re-launch of the Bond series with Goldeneye. Having taken nearly $68m on a budget of $16.5m, the sums clearly added up.

        Why Is It So Bad?: While many sequels feel like cheap cash-ins, The Spy Who Shagged Me is certainly one of the most cynical. While the first film was adolescent in places, it did intelligently explore and send up the clichés of the spy thriller in amongst all the gross-out humour. In the sequel all that has been replaced by lazier, more repetitive jokes, cheap references to Star Wars (cashing in on the Special Editions) and a plot which fulfils on none of the potential of the film’s central conceit (Austin Powers losing his mojo). It’s also really mean-spirited, believing that both fat people and little people are inherently funny, especially when they are being humiliated.

        What Happened Next: A second sequel, Austin Powers in Goldmember, arrived three years later to mixed reviews. A fourth film has been mooted for many years. Myers went on to find success in the Shrek series, while Roach later made Meet the Parents.


        • 5 Great Comedy Movie Sequels (And 5 That Were Disappointments):

          When I was an adolescent, quoting lines from “Austin Powers” movies was just something that was done. “Yeah baby!”, “Do I make you horny, baby?”—it was not long before people would only quote those lines when they were trying to be ironic. Now, it’s very much a thing of the past. There’s no irony involved anymore. Nobody dresses up like Austin Powers for Halloween. No one ever tries to do a Dr. Evil impression. It’s done. The time has passed. So why did this happen? It’s simple: Mike Myers & co. ran all those jokes into the ground with the third movie.

          Yes, it’s very much safe to say that the “Austin Powers” movies have not aged very well over the past couple of years. The first one still has plenty of great moments and is often very funny, the second one took a bit of a dip in quality but it at least manages to take the series through some quirky directions. There’s the introduction of a couple of new characters (Mini-Me and Fat Bastard) that now seem integral to the film series as a whole. And the film seems to have a lot of fun incorporating time travel into the plot. I don’t have a problem with the second film. It’s the third film that is very much guilty of rehashing all the same jokes that were introduced earlier in the series. Overall, I’m pretty sure “Goldmember” is the reason why the Austin Powers series has taken a dive in the public consciousness.

          “Goldmember” rehashes so many jokes from the second film that they actually have Ozzy Osbourne, featured in a cameo appearance, make fun of that fact. Oh yeah, that’s another thing. “Goldmember” is filled with a ridiculous amount of celebrity cameos. Instead of the film being nostalgic for the ’60s or the ’70s, watching it now very much reminds you that the film was made in 2002. Remember when “The Osbournes” was a reality show that existed? Remember when Britney Spears was a pop superstar? Remember when Jay-Z’s “Hard Knock Life” was a popular song? Actually, even that was a dated reference when the movie first came out.

          Out of the entire movie, only Beyonce is still relevant. She actually manages to have a great amount of fun with her role, unfortunately she and Mike Myers displayed zero chemistry between each other. Then there’s the appearance of yet another Mike Myers character in the film: Goldmember. He’s Dutch, he has golden genitals, he has a collection of his own dead skin, and he constantly makes ’70s pop culture references. There was some comic potential there, perhaps, but the film is too busy being in love with itself that it never tries to enter new comic directions. Instead, they just go for the same jokes that made the first two movies work. By the time the movie was over, audiences all made a secret pact never to quote from an Austin Powers movie ever again. Eleven years later? The pact is still strong.


        • ‘I would love to do another Austin Powers,’ reveals Mike Myers as cast spill behind-the-scenes secrets 20 years after original


    • As an example, Dana Carvey could easily have done a variety of supporting roles. Jon Lovitz certainly did, and with a lot less range. Enjoyable, but always basically Jon Lovitz. I am a big fan of SNL alums transitioning to the big screen but it doesn’t always work out.


      • I’ve heard the argument (primarily from the Haphazard Stuff site regarding a video concerning bad sequels like “City Slickers 2”) that somebody like Jon Lovitz could never really be successful as a feature length, film star (when compared to his “SNL” days) because his acting style/style of comedy is too animated and schtick filled.

        And again, speaking of Dana Carvey:


        • I am honestly surprised whenever any of the SNL guys make the transition. To success on SNL you need to be a chameleon. There are exceptions. Chevy Chase, John Belushi and Bill Murray were bigger personalities than character actors. But most of the more recent SNL stars are doing characters that don’t necessarily transition to the big screen.


  8. Apparently, after the first “Wayne’s World” film proved to be a major hit, an “SNL” producer told Mike Myers if there was anyone he wanted to work with, just let him know. Myers’ response: Federico Fellini. The producer kept waiting for him to laugh…then realized Myers was completely serious, that having one hit under his belt meant he could work with the man who made “8 1/2”.


    • LOL. I have not heard that one before. Hysterical. I wouldn’t believe it, but with Myers anything is possible. He wanted to write Garth out of Wayne’s World for crying out loud!


    • Speaking of which, I wonder why the second “Wayne’s World” film wasn’t as big of a box office success as the first one. To put things in proper perspective,the first “Wayne’s World” movie grossed about $121 million at the domestic box office. By comparison, Wayne’s World 2 only grossed about $48 million (barely breaking even).

      Supposedly, part of the problem was that “Wayne’s World 2” got lost in the shuffle during the ’93 holiday/Christmas season w/ “Mrs. Doubtfire”, “Schindler’s List”, and “The Pelican Brief” out around the same time.

      I think another problem or issue is that when the first “Wayne’s World” movie was released, Nirvana’s “Nevermind” had been only out for about four months. Between the time(early 1992-late 1993) in which the first and second “Wayne’s World” movies were released, grudge permeated music. Thus, Wayne and Garth’s love of ’80 hair bands and what not seemed out of touch with the 17-25 year old target audience. Basically, the movie or movies felt dated by this point.

      I also wonder if Beavis & Butt-Head were a partial factor. What I mean is that “Beavis & Butt-Head”, which premiered on MTV in I believe, March of ’93 arguably made Wayne & Garth “so last season”. Beavis & Butt-Head had pretty much surpassed Wayne & Garth as America’s favorite metal loving comedic duo (Wayne & Garth did the same w/ Bill & Ted so to speak).


      • re: Between the time(early 1992-late 1993) in which the first and second “Wayne’s World” movies were released, grudge permeated music. Thus, Wayne and Garth’s love of ’80 hair bands and what not seemed out of touch with the 17-25 year old target audience. Basically, the movie or movies felt dated by this point.

        VERY GOOD POINT — the target audience “aged-out,” so to speak, and “hair bands” were getting to be uncool by that point and/or seeing as the average USA youth has little sense of history, the kids couldn’t relate to Wayner and Garth.

        Also, SOUTH PARK kind of took-over as semi-hip youth’s cultural barometer…Robert Smith from the Cure was cool, but Warrant was stuff the older nerds/beer-bellies listened to.


        • What if Austin Powers pulled a Bond and changed actors?

          Post by mizerable on 12 hours ago
          Austin Powers already has nothing left in the tank. It was painfully obvious with how terrible Goldmember was.

          Mike Myers is also a shell of himself. I didn’t see the Love Guru or Cat in the Hat, but I’ve seen enough from the trailers and scenes shown elsewhere that make me desire to inflict pain upon him, which is not what you want from a “comedian”.

          Myers was also the only thing I hated about Inglourious Basterds. His 2 minute cameo (which was harmless) was so unneeded and made no sense that I couldn’t even focus on what was going on. I was too busy scratching my head and waiting for Myers to be “funny”.

          Anyways, the first Powers movie is great..a classic that touched upon all the Bond cliches. The second movie was a rehash that had some okay moments, but wasn’t needed. The third movie was a total waste of time that absolutely depended on unfunny callbacks and shit that wasn’t Bond-esque at all, as well as a stupid plot that felt like a major “f*** you” to the audience.


      • You might be overthinking it- Waynes World was OK- but no Caddyshack. A lot of people who saw the first might have decided a sequel really wasn’t needed.


  9. That is an excellent point about the concept in the first AP movie, Terence. The concept did make the movie and it gave the writers a vehicle for writing almost elegant satire. And of course, Myers played the role with charm and gusto. it’s also a compelling thought, as others have noted, that many comedians have a shelf life. Their brand of humor may suceed via the novelty aspect in the beginning.
    Cat in the hat – double ugh.


  10. 25 A-List Hollywood Actors Who Fell the F Off:

    Mike Myers
    Best Known For: Wayne’s World (1992), Austin Powers: International Man of Mystery (1997), Shrek (2001)
    Most Recent Project: Shrek Forever After (2010)

    You can’t blame a man for getting lazy with all that green monster money. Odds are, Mike Myers was a vital part of your childhood. Between Wayne’s World, Austin Powers, and Shrek, he’s been the vehicle for a decade’s worth of funny quotes at the middle-school lunch table.

    Someone should’ve warned him, though: The demands of a huge cartoon franchise can monopolize your creative output. Outside of the Shrek franchise, Myers has only had time for Razzies, with films like The Cat and the Hat and The Love Guru comprising most of his recent work.


  11. Let’s Give These 11 Washed-Up Feature Film Actors Their Own Television Series:

    Mike Myers — Myers kind of screwed his own career, selling out too hard with a series of overly broad comedies and sequels He’s a gifted comedic actor, but also kind of limited. He could be good in the right role, but given his age and his limitations, I’m not sure that role exists on network television: At best, I could see is a scene-stealing, crazy drunken uncle on a irreverent family sitcom.


  12. The Lost Roles of Mike Myers:

    Outside of the Shrek films, the past decade hasn’t been to kind to Mike Myers’s career. While its now commonplace for critics and Internet commenters to dogpile on the man, let’s not let The Love Guru taint our collective opinion of Myers. He’s created a lot of beloved comedy in his time, especially with his work on Saturday Night Live, Wayne’s World, and Austin Powers. In an industry where most big name comedy actors are pumping out two or three movies a year, their faces a ubiquitous presence on the posters and cardboard cut-outs that blanket cinema lobbies year-round, it’s refreshing to see Mike Myers showing a little reluctance to flood the market with his comedy. Though it sometimes may not seem that way, Myers is someone who chooses his projects carefully, taking lengthy Kubrickian hiatuses between movies. Being so choosy about his projects has caused Mike Myers to miss out on some well-known projects over the years. Let’s take a look at some parts Myers passed up in this week’s Lost Roles.


    • The real reason Mike Myers’ Dieter never happened

      After Mike Myers’ phenomenal big-screen success with Wayne’s World and Austin Powers: International Man of Mystery, production started in 1998 on Dieter, the next surefire hit from the ex-Saturday Night Live star, screenwriter, and comic chameleon. Myers’ second-best-known SNL bit after “Wayne’s World” was probably “Sprockets,” a bizarre German talk show hosted by the off-putting, nihilistic, art-schooly, all-black-wearing, stereotypically German guy Dieter, along with his pet monkey Klaus. (Like Wayne Campbell, Dieter was a catchphrase machine: standouts include “I’m as happy as a little girl,” “Now is the time on Sprockets when we dance!” and “Would you like to touch my monkey?”)

      With a cast that also included Will Ferrell and Jack Black, Dieter should’ve been released in the summer of 2001…but it was never even filmed. What happened?


  13. interesting stuff Terrence. A movie about “Da Bears” gang could have been a lot of fun. As Lebeau’s main article indicates, and the writer in the link above skips over, Myers may have lost out on projects for being difficult. I remember when the Keith Moon movie was being discussed and thought it sounded intriguing.
    And I do agree that he might have aced Charlie and the Chocolate factor, as capable an actor as is Johnny Depp, Myers would have brought his unique comedy persona to the role, and it could have revived his career. But alas instead there was the Cat in the Hat… woulda coulda shoulda 🙂


  14. 20 Movies That Made Us Think Differently About The Actors In Them (And Not In A Good Way):

    Mike Meyers killed it with his stupid-funny Austin Powers routine, managing to milk it for an entire trilogy. When it got stale, he invented The Love Guru, which was stupid but not in a funny way.


  15. 10 Formally Respected Actors Who Have Probably Gone Insane:

    5. Mike Myers

    Austin Powers was a long time ago and Wayne’s World even longer, though he has had the success of Shrek to fall back on, though even that franchise has now more than over-stayed its welcome. His fall from grace however is more down to his horrible choice of live action roles than constantly going back to the well for another outing as the green ogre.

    While the signs were beginning to show with Goldmember, even his most vocal of critics wouldn’t have been able to foresee what would follow. First up was the title role in The Cat in the Hat, which made him look like a poor man’s Jim Carrey, and as bad as that was, it’s nothing compared to the shambles that it is The Love Guru.

    Myers’ comedy has always been rather divisive, but The Love Guru was flat out unfunny. The only thing he achieved with these two films was to make people wonder when exactly Mike Myers lost his damn mind? How could the guy that created two of the most popular characters of the last twenty years or so get it so wrong?

    As of now, it seems that Myers’ career as a leading man in comedy is over; another Austin Powers won’t fix it and considering he co-wrote, produced and starred in The Love Guru, I doubt that anyone will allow him to create an original character again. If he really wants to do it then I would suggest that he dust off Dana Carvey and finally put out Wayne’s World 3. He may be concerned about ruining the legacy, but how much worse could it possibly get? Party on Wayne!


    • I like it. Wayne and Garth would be seen initially through flashbacks and then in present time, they are conservative, boring accountants and have teenagers of their own. Wayne Jr and Garth Jr find their parents music lame and form their own band. Oh, the possibilities!


  16. 10 Actors Who Are Nowhere Near As Great As They Used To Be:

    8. Mike Myers

    There is something about Hollywood that sucks the spark out of those comedians that make it on the big screen. They explode into the stratosphere making us question how we were able to even live our boring lives before they came along. Such was the case with Mike Myers. Honing his comedic skills on Saturday Night Live, he made the jump with the bitching Wayne’s World, followed that up with the nice-guy So I Married An Axe Murderer and then everyone’s favorite Millennium costume, Austin Powers.

    So what happened?

    Shrek came along and Mike discovered he would never need to go into a make up trailer again. Doing voice-over work has been such a great steady gig for him that he really has no need to try and create new lovable characters. His last attempt, the Love Guru, stank so bad it even beat out The Happening for the 2008 Razzie award as Worst Film of the Year. When your comedy is considered worse than a movie about killer plants, you know you’ve hit rock bottom. Fortunately, it’s not like Mike is in financial trouble. He’s just hit his creative plateau. For now.


  17. Five Actors You Should Never Fight for Creative Control:

    3. Mike Myers

    Cliche suggests that all comedians have a moody, tyrannical monster underneath their wisecracking exteriors. One comedian who seems to fit this mold is Mike Myers, whose track record of film success is tempered by numerous stories of behind-the-scenes tantrums. Myers was apparently against including Dana Carvey’s Garth character in 1992’s Wayne’s World for fear that Carvey, a slightly bigger star, would overshadow his own turn as the title character. He also supposedly stormed off Wayne’s World’s set because there was no margarine for his bagel. Years later, halfway into the production of the first Shrek, Myers decided the ogre should speak with a Scottish brogue. This cost DreamWorks about $5 million to correct. The pinnacle of Mike Myers-related craziness, though, has to be the 2000 Dieter script debacle. Myers backed out of making a film based on his weird German SNL character, claiming heroically that he refused to cheat moviegoers with an inferior screenplay. The problem is, he co-wrote the screenplay and had complete creative control over the project. Instead of taking the time to fix it, he walked away from Dieter and was promptly sued by Universal Pictures for $3.8 million.


    • 10 Famous Actors Who Are Notoriously Difficult To Work With:

      2. Mike Myers

      You could be forgiven for thinking that “a night out on the town with Mike Myers” might make for a great old time, but this costume-inclined funnyman has earned more of a reputation for going totally nuts on set, so maybe you should reconsider that drink, huh? I hear Keanu Reeves is nice. Anyhow, Mike Myers has spent much of his career making everybody hate him. Though those who have worked close with the Austin Powers actor have cited him as a “genius,” they’ve also called him “a moody, temperamental control freak.” Ouch.

      So although you might associate Mike with classic catchphrases like “Yeah, baby, yeah,” and, uh, “That’ll do, Donkey – that’ll do,” he’s about as egomaniacal as they come. One guy even reported that he got fired for looking the actor in the eye whilst making Austin Powers. For the sake of this article, I hope that’s true. At this point in time, Myers has succeeded in alienating absolutely everyone in Hollywood, anyway, which is why you haven’t seen him in anything for the last few years. I think it’s over for this once funny chap. That’ll do, Mike. That’ll do.


  18. Mike Myers: Has Hollywood’s funniest man lost the Midas touch? Mike Myers was once hailed as Hollywood’s funniest man. As yet another of his movies is slammed by the critics, Guy Adams examines what went wrong:

    1. The Mike Myers work ethic

    Myers waited six years to appear in another film after the Austin Powers trilogy (provided you ignore his voiceover work in the Shrek animations and The Cat in the Hat). In the fickle world of Hollywood, that’s simply far too long.

    Today, the majority of Myers fans are over the age of 25. Many have grown up, moved on, and now represent a demographic that is tricky to tempt to cinemas in great numbers to see any film, let alone a poorly reviewed comedy. In short, The Love Guru’s creator and central figure has lost touch with the zeitgeist.

    2. ‘The Love Guru’ was poorly marketed

    Believe it or not, The Love Guru was actually a hilarious movie… provided you have the sense of humour of a 10-year-old. Unfortunately, very few 10-year-olds ever got to see it.

    American public morality makes it hard to get away with a kids’ movie that touches on the subject of sex. But if the people at Paramount had stopped trying to sell The Love Guru as a randy Peter Sellers movie, and instead focused on the young teen market, they could have found a more willing audience.

    3. Casting problems

    Justin Timberlake may be a decent musician. But he’s a lousy actor, and appeared snappy and tricky in publicity interviews leading up to the film’s launch this summer.

    Ben Kingsley is over-exposed, and the Jessicas Alba and Simpson are better known as rent-a-celebrities than actors. Myers, meanwhile, has never enjoyed a reputation as an easy person to work with. Type his name, together with “diva”, into Google and you’ll see why.

    Although it isn’t known whether Myers insisted on being given “final cut” on The Love Guru, it’s unlikely that either his producers or the studio leaned hard enough on him either to keep the 87-minute film’s budget down, or rework some of the scenes and jokes that caused its appalling reviews.

    4. The film offended minorities

    Myers has a track record of upsetting noisy interest groups, and in previous films has variously lampooned Scots, fat people, midgets, and the entire homosexual community.

    In The Love Guru, he sends up Eastern mysticism, which sparked heated complaints from the Hindu community, in both America and overseas. “What he could have done was have been a little less gross about some of the jokes,” Deepak Chopra told MTV News. “And some of the spiritual themes, they could have shown more of the lighter side. He was almost too serious in his deprecation. He needed more humour.”

    5. Mike Myers wasn’t funny in the first place

    Re-watch Wayne’s World. Then re-watch the Austin Powers trilogy. Provided you are sober, ask yourself a big question: are they really all that hilarious?

    Sure, the films were original. Sure, catchprases such as “Party time!” and “Groovy, baby!” might have made you laugh as a half-stoned teenager. And those ludicrous fake teeth probably looked good at the time. But 10 years down the line, it’s difficult to argue that the Myers sense of humour has aged particularly well.

    6. It fell victim to wider trends

    This summer, there’s a glut of comedies on the market. Some are pretty decent, such as Adam Sandler’s You Don’t Mess with the Zohan, Ben Stiller’s Tropic Thunder, and Will Ferrell’s Step Brothers. Others less so, such as Get Smart. While many have performed solidly, none has provided a box-office knockout.

    “I would put Mike Myers in that category of Saturday Night Live ‘alums’ who have come from TV to movies,” says film historian Steve Vineberg. “Some have had sustained careers, others haven’t. His real gift is as a mimic, and with that brand of humour, there’s always only a certain number of times you can see that shtick without growing bored.”

    7. It was a rare aberration

    As you might expect from a man whose brand of comedy is defined by its quirkiness, Myers is capable of the odd mistake, and his career before The Love Guru wasn’t as untarnished as you might think: in 1993, he released the stinker So I Married an Axe Murderer.

    He bounced back from that, and he may well bounce back from this. Indeed, only last week, the Hollywood rumour mill suggested that he was currently hard at work on a fourth instalment of the Austin Powers series, which will be part-homage to his late father.

    The analyst Paul Dergarabedian of Media by Numbers recently told the influential film magazine Radar that it’s too early to write Myers off. “Certainly, he’s a visionary comedian, and I wouldn’t count him out. But in the future, a more accessible or mainstream character might play better to a mass audience.” Of course, only time (and Austin Powers 4) will tell.


    • 15 Hollywood Comebacks That Didn’t Take (Maybe These Celebrities Find A Side Gig):

      The Love Guru (2008) was intended to revive the live-action movie career of Mike Meyers the same way the Austin Powers franchise had years earlier. Unfortunately, it failed miserably both critically and commercially. A brief supporting role in Quentin Tarantino’s Inglourious Basterds was overshadowed by the breakout performances by Christoph Waltz and Michael Fassbender. Meyers will soon be attempting another career reinvention with Wayne’s World 3 and Austin Powers 4, which are currently in the works.


      • Hollywood Career Killers: 15 Movies That Helped Do Away With Major Tinseltown Players:

        The Love Guru was Mike Myers’ Austin Powers follow-up and a huge commercial disaster. The film featured Myers as an Hindu guru (um…) whose unconventional tactics are employed to restore the love-life of a well-endowed hockey player (Justin Timberlake). No, we aren’t making that up. Even worse, Myers roped Jessica Alba and bunch of other talents into the film based of the goodwill accrued by previous projects. The film tanked, was accused of xenophobia by Hindus and was torn apart by critics. The film has been called Myers’ career killer, though if he can put together another Austin Powers or Wayne’s World, he may get back on track (both are in the pipeline).


        • 25 Movies That Killed Careers:

          The Love Guru (2008)
          The casualty: actor Mike Myers

          As long as they keep making Shrek movies, Mike Myers won’t truly ever be “dead,” career-wise. Just don’t expect any live-action comedies written by and starring the Saturday Night Live alum anytime soon. Sorry, Austin Powers fans, but 2008’s The Love Guru basically obliterated any hopes of having a major studio fork over the big bucks to Mr. Myers.

          The bad will technically started in 2003, when The Cat in the Hat was nominated for three Razzie awards, including a Worst Actor nod for Myers. Instead of returning to the Austin Powers franchise, which would have at least provided a safety net stitched with familiarity, Myers tried introducing a new zany character to the masses: Guru Maurice Pitka, a painfully unfunny (dare we say racist) creation surrounded by a plethora of potty humor and a startling lack of originality.

          Budgeted at $62 million, The Love Guru barely inched its way to $41 million at the box office. And Myers avoided a losing streak at the Razzies when he scored the Worst Actor trophy for this Worst Picture winner. We doubt even Wayne Campbell could resurrect Myers’ leading man status at this point.


        • 12 Actors Whose Careers Were Destroyed By A Single Movie:

          11. Mike Myers – The Love Guru

          The Actor: Despite visibly helming two successful comedy franchises (Wayne’s World and Austin Powers), Mike Myers is best known for playing Shrek, a character it’s nigh on impossible to make out as him. What’s funny is that these three series aside, Myers, a highly regarded name in comedy, doesn’t have many films to his name. His career was pretty much made on the back of Austin Powers, which he’s seemed unable to follow on from.

          The Film: Now technically this all started with The Cat In The Hat, but many chalked that up as a minor mistake to make a quick buck. It was with The Love Guru, with Myers’ returning to adult comedy, that he really fell from grace. A putrid exercise in taking the easy route for laughs, audiences and critics despised it in equal measure. As writer and producer also, the faults were all on Myers.

          What Happened Next: He’d already filmed a role as an English general for Inglourious Basterds (Tarantino felt like giving someone else a pointless cameo this time), but The Love Guru has literally spelled the end of his career. Shrek has finally stopped and with his last successful live action film over a decade ago, it looks like Hollywood have learned something they seem unable to with Will Smith and realized success in the nineties does not translate to success today.


        • I haven’t actually read any of the entries in this list, but does anyone really think a career can be destroyed by a single movie? The premise just seems ridiculous to me. If a single movie can really derail a career, you don’t actually have a career. I think the WTHH articles illustrate that no one movie ends a career. There are usually numerous factors that lead to a career cooling off. Yes, a flop can cause a star to lose career momentum. But an A-list star should be able to absorb a single misstep no matter how big.

          In Myers’ case, for example, The Love Guru didn’t end his career. It just failed to revive it as he had hoped.


        • The Love Guru (2008) – A Review:

          Star hockey player Darren Roanoke (Romany Malco) has emotional problems since his wife left him for his rival Jacques “Le Coq” Grandé (Justin Timberlake). With his skills no help to the Toronto Maple Leafs to win the Stanley Cup, the team owner Jane Bullard (Jessica Alba) hires Guru Pitka (Mike Myers) to help Darren overcome this stress and help them win the Cup and the admiration of their fans. Initially the unorthodox Pitka has his own sights set on dethroning Deepak Chopra as the number one guru and is eying a guest spot on Oprah. However, when he meets the lovely Jane this Love Guru gets smitten and vows to help her team and hopefully win her heart.

          This movie is terrible. What a tragic unfunny experience this was.

          The story is stupid, this character annoying and the jokes are juvenile and the worst part of it all it’s all extremely unfunny! Mainly the humor consists of potty humor at a twelve-year-old level. Let’s see, we have fart jokes, pee jokes, poop jokes. If you love penis jokes you might enjoy this. There’s actually a dinner scene where the main course is meant to look like a ball sack. Myers holds them up and mugs to the camera doing tired schtick trying to make the gag funnier – it isn’t. When they start smashing ‘the nuts’ with a hammer it’s clear they have nothing else to offer in regards to the comedy here.

          This is an extremely self-indulgent flick. It’s like Myers thought this character would go over so big and become part of his beloved stable of creations. Maybe Pitka could have been if there was actually some smart satire written for him. If they used him to goof on the self-help movement, the popularity of gurus, eastern teachings being dumbed down to an western audience. There’s nothing like that. Instead it’s just Myers putting on a ‘funny voice’ and a series of bathroom humor filling up the screen time. I can’t recall if the movie was met with attacks by Indian groups for portrayals of stereotypes or mocking their culture or anything like that. Maybe this flick didn’t even warrant that attention.

          Jessica, Jessica, Jessica, who’s picking your scripts….
          Besides relying on the aforementioned dick jokes, there are pointless cameos, Pitka’s teaching through unamusing acronyms, characters fighting with urine soaked mops, Myers performing songs on a sitar, small jokes aimed at Verne Troyer, Justin Timberlake further trying to convince everyone he’s funny (I never bought into that) and Jessica Alba once again looking great in an atrocious movie. She just keeps adding those feathers to her cap.

          Myers was a talented guy once. Everyone loved his Austin Powers character (before he ran that joke into the ground with sequels). Wayne’s World featured one of his popular Saturday Night Live characters in a pretty fun movie. Yeah, SNL all those characters he created, he was one of the highlights on the show back then.

          Then in the last ten years Myers has disappeared. Other than being the voice of Shrek (which that also was run into the ground with subpar sequels) when he has emerged it’s been in some pretty awful films. His biggest live-action appearances was The Cat in the Hat in 2003 and here as the Love Guru. I guess if you want to you can count his three minute cameo in Inglourious Basterds in 2009, but I don’t. Myers the performer has practically completely dissolved away.

          The Love Guru didn’t help things. Some reviews actually suggested the idea of retirement to him after witnessing it and said the film could be a career-ender. That with this movie it proves he has simply run out of material. This is on top of all the stories about how difficult he is to work with. Perhaps all that explains why we haven’t seen him since 2009.

          I was expecting this to be bad, but I had no idea how bad it really would be. I sat there stone-faced for ninety minutes wondering “Why in the world would they think this was funny? They couldn’t have all actually sincerely believed in this. There had to be someone on the set who realized they were helping make a stinker, right?”

          It’s a putrid movie. If you were to ever watch it I would like to say to look out for at least one high point and offer a tiny bright spot in this dreck, but there is none. No none. Oh I guess I could repeat Alba looks good again in it. And no she doesn’t get naked so forget that. It’s simply a miserable, unfunny experience.

          No wonder we haven’t seen Myers headline a movie since this.


      • 10 Forgotten Actors That Need To Make A Comeback:

        6. Mike Myers

        Mike Myers was a comedy heavyweight throughout the 90s and much of the early 2000s. Sure Mike has done some voice work for Shrek but the last movie that he managed to headline was The Love Guru which left quite a few of us wondering, what the hell happened?

        When Austin Powers hit the scene people were visiting emergency rooms because they were in so much pain from laughing too hard. Much like anything else that is good, too much of a good thing became a bad thing. By the time the third Austin Powers movie was released Myers decided to call it a day on the franchise which in retrospect was a good move. After the epic failure that was The Love Guru Mike Myers completely disappeared which is not what any of us wanted.

        We live in the age of Seth Rogen, Will Ferrell, Zack Galifinakis, and Jonah Hill. Many of the actors that were just mentioned have something that makes them special but not one of them can fill the shoes that Mike Myers wears. I’m not saying he’s better or worse than anybody all I am saying is that he is his own man and brings his own unique presence to the screen.

        Mike Myers has taken quite the break from mainstream cinema. At this point an Austin Powers sequel would be welcomed by many. It has been long enough of a wait to where a new Austin Powers or Wayne’s World film would be celebrated. Let’s hope he cranks one or two more great comedy films out before calling it a day.


      • What Wrong Wrong?: Vol. Whatever – The Love Guru

        Mike Myers has long been considered an egomaniacal nightmare in Hollywood, but the success of both the Austin Powers and Shrek franchises largely allowed him to run roughshod all over Hollywood for the better part of a decade. Because his films brought in big box office receipts, Myers’ self-indulgent ego went completely and utterly unchecked. Even his relative box office misses, 2003’s The Cat in the Hat for example, still somehow made money. This all changed in 2008 when Myers’ notorious The Love Guru not only bombed spectacularly, but also drew some of the most dire reviews of any major theatrical release ever. So what exactly went wrong?

        Let’s start by going back to 1992 for a moment. In the winter of 1992, Wayne’s World (Myers’ first starring role), shocked box office pundits, grossing over a hundred million dollars domestically. The film, based off of a Saturday Night Live sketch, was also met with enthusiastic reviews and is still funny today, almost 25 years later (I re-watch it about once a year and feel it’s one of the best comedies of the 90s). The film was a resounding success for Paramount, beginning a long and mostly successful relationship between Myers and the film studio. However, behind the scenes Myers was considered a nightmare, so much so that the film’s director, Penelope Spheeris, did not direct the sequel, Wayne’s World 2.

        Speaking of Wayne’s World 2, that Stephen Surjik (who?)-directed sequel grossed less than half the original film despite its placement as a big Christmas season would-be blockbuster. Though I (mostly) like Wayne’s World 2, it’s hard to argue that it’s as good as the first (because it isn’t). It was met with lower critical reviews and audience disinterest. The film, released in 1993, would be Myers last big theatrical-starring release until four years when the first Austin Powers movie came out. That film, shot on a budget of about 16 million dollars, turned a modest profit at the box office but immediately caught on with home video, becoming a significant cult crossover hit.

        The post-theatrical success of the first Austin Powers movie was so enormous that it led to Austin Powers 2 grossing a whopping 300 million dollars worldwide, becoming one of the biggest hits of 1999. Back on top of the world, Myers gained even more prominence voicing the title character in the Shrek series of films, beginning in 2001. The four theatrically released Shrek films have grossed over one billion dollars in the United States alone. A third Austin Powers film grossed over 200 million stateside despite mediocre reviews, becoming another significant hit for Myers back in 2002. Shrek 2 became one of the biggest animated hits ever in 2004, but the cracks began to show in 2007 with the release of the third film in the franchise.

        Though it grossed a healthy amount upon release in 2007, it was almost universally disliked (and failed to build off the success of part two). Franchise fatigue had set it, as it had with Wayne’s World and the Austin Powers films. Additionally, Myers had a falling out with Universal Studios over a proposed “Dieter” film. Based on a recurring character from Saturday Night Live sketches in the early 90s (where have we seen this before?), the Dieter film was expected to be the next Austin Powers-type franchise. A script disagreement between Myers (who helped pen the script, it should be noted) and Universal execs led to a lawsuit, the results of which are fascinating and easily Googled. I suggest checking it out. The Dieter lawsuit began around 2000 but followed Myers for years afterwards, contributing to the perception that he was a perfectionist at best and an egomaniac at worst.

        Whatever made Myers rescind the Dieter contracts obviously didn’t stop him from making The Love Guru, however. The critically derided Love Guru (14% on Rotten Tomatoes), released in the summer of 2008, became Myers biggest and most notorious flop. For a guy who had only had two significant career flops (Wayne’s World 2 and The Cat in the Hat, the former of which was still a good movie and the latter of which still made money), the failure of The Love Guru hurt Myers so badly that he essentially took refuge in Shep Gordon’s famed Hollywood famous person retreat in Hawaii. Myers has not starred in a comedy film since, opting to appear in minor roles for mainstream directors like Quentin Tarantino or make documentary films instead. Myers has admitted publicly that the failure of The Love Guru caused him to spiral into depression, which is honestly something I hope he received professional help for.

        It wasn’t that The Love Guru was just a bad movie that makes it a significant What the f***? in Hollywood history – it’s that it is considered one of the worst movies of all time. Littered with product placement (Hotdog on a Stick, Cinnabun), celebrity worship/cameos, and all of the stuff Myers finds personally interesting (pseudo-Hindu mysticism, Maple Leafs hockey, Canada in general), The Love Guru isn’t just any old commercially released comedy film. It’s a passion project meets a big Hollywood studio release that cost millions of dollars, lost millions of dollars, and ended up appealing to no one except for the egomaniacal person at the center of the production – in this case, Mike Myers. The Love Guru was such a failure that it killed Myers’ career as a leading comedy film actor. He hasn’t appeared in a leading role since.



    • Turning a children’s classic into a crass forum for the mildly ribald improvisational stylings of Mike Myers

    • Adding all the boner, bat-in-the-crotch, and gonorrhea jokes that the original book apparently lacked, and pointlessly sexing it up with leering shots of Kelly Preston’s cleavage and a Paris Hilton cameo

    • Draining Dr. Seuss’ story of all that icky wonder, magic, and lyricism


  20. They Believed The Hype (And It Blew Up In Their Face): 15 Celebrities Whose Careers Were Hurt By Hubris:

    After the combined success of the Wayne’s World, Austin Powers, and Shrek series, Mike Meyers seemed like he could do no wrong. Then came The Love Guru which ground his career to an unexpected halt. The comedy cast co-writer/producer/star Meyers as guru Maurice Pitka, a Hindu stereotype intended to help a hockey player (played Justin Timberlake) regain his confidence. Immediately after its release, The Love Guru was lambasted by critics and Hindu organizations for being both unfunny and xenophobic. Audiences apparently felt the same, causing the big budget film to bomb. Many suspect the “anything-for-a-joke” arrogance displayed by Meyers in The Love Guru has inadvertently killed his career outside the Shrek franchise.


  21. Here’s another good reason why “The Cat in the Hat” was horrible: They put the script in the hands of the wrong writers. Alec Berg, Jeff Schaffer and David Mandel may be OK when it comes to raunchy, R-rated films like “Eurotrip” and “The Dictator”, but they were obviously not meant to do family films.


    • I have never sat down and watched it from start to finish. But from what I have seen, Alec Baldwin is the only source of entertainment. Everything else is terrible.


    • Cinematic Excrement – Episode 17: The Cat In The Hat:


      • The Nostalgia Critic’s Real Thoughts on Cat in the Hat

        Wow, we got REALLY angry on this one. thoughts

        See the Nostalgia Critic episode on the Cat in the Hat movie here –


      • 15 Worst Movies To Gross Over $100 Million


        Poring over the classic Dr. Seuss book The Cat in the Hat, you’d be hard-pressed to locate the page on which the title feline, standing next to a garden tool, yells, “You dirty hoe!” and then flicks his tongue in a lascivious manner.

        Clearly, 2003’s live-action adaptation of The Cat in the Hat is a catastrophe on all levels. If nothing else, 2000’s vilified How the Grinch Stole Christmas at least benefits from a smashing comic turn by Jim Carrey. Unlike Carrey’s unapologetically edgy work, though, Mike Myers’ shtick as the Cat is all one-note self-adulation, a feeble channeling of Bert Lahr’s Cowardly Lion by way of Jerry Lewis, Paul Lynde, and Myers’ own Austin Powers. It’s a terrible performance, at once unctuous and obnoxious.

        Yet Myers is hardly the only problem. Because Dr. Seuss’ delightful yet slender story, about a mischievous cat whose home invasion ensnares two kids in his property-pummeling merriment, wouldn’t stretch out to feature length, the makers of this abomination add needless subplots involving a sleazy neighbor (Alec Baldwin) and an irksome neat freak (Sean Hayes). Meanwhile, all the cute characters from the original story (the goldfish, Thing One and Thing Two) have been visualized as creepy entities. Truthfully, there isn’t much in this crass and clueless movie that doesn’t inspire feelings of revulsion.


  22. I always thought Carvey would be more successful than Myers. Carvey’s problem is that his skill set is great for sketch comedy but doesn’t translate as well to feature length film. Also, he had some terrible health problems. But even so, I’m not sure movie stardom was ever in his future. I was frankly surprised that Myers was ever as successful as he was in film.


    • Maybe part of the problem for Dana Carvey besides his health issues is that he never really had his own Austin Powers (not counting his “SNL” characters like the Church Lady) so to speak to push his film career further.


      • Absolutely. Carvey was also a character actor and was going to have a tough time making it as a movie star. That style of comedy works best on TV. I was less surprised by Carvey’s lack of a movie career than I was surprised by Myers’ success at the movies.


  23. Agreed on these latest comments. I was a big fan of Dana Carvey and loved the way he immersed himself in his characters – outrageous and hilarious. The thing is, Garth would not be funny without Wayne and vice versa.


    • Myers created Wayne as a solo character he used to do in shows. Garth was added when Myers brought the character to SNL. It works better as sketch comedy if Wayne has someone to play off of. But Myers was never happy about turning his solo act into a duo. And he constantly struggled against it. When it came time to make a Wayne’s World movie, he did everything he could to minimize Carvey’s character. If he had his way, I doubt Garth would have been in the movie at all.


      • Mike Myers should’ve in retrospect or hindsight taken Dan Aykroyd’s approach to movie making in that it’s usually better to team up w/ another funny person (e.g. John Belushi, Chevy Chase, Bill Murray, Eddie Murphy, and John Candy) instead of always having to go it alone. I think I’ve already said that part of the reason why Mike Myers’ career went into decline is that audience more than likely (by the time he did “The Cat in the Hat”) started figuring out the repetition of his style of comedy.

        The thing about something like “SNL” when compared to a feature-length movie, is that sense it’s an ensemble program w/ one sketch at a time, it’s much, much harder to be worn out by a comedian’s schtick. The same sort of thing can be argued regarding Jim Carrey regarding his work on “In Living Color” when compared to his movies. Just like Mike Myers, I think Carrey would’ve benefited by teaming up w/ other high profile comedic stars since he’s own schtick only had such a certain shelf-life.


        • That’s not how Myers works. He tried repeatedly to ditch Carvey from Wayne’s World which would have resulted in a fan uproar. He’s not a collaborator by nature.


        • Yeah, I don’t think that Mike’s ego would allow him to share the spot w/ another high profile comedian/peer for too long. I really wish that if Mike Myers is going to bring back a old character, it would be Wayne Campbell and not Austin Powers (if the rumors of him doing a fourth “Austin Powers” flick are true) first and foremost. I feel that Mike maybe has taken the Austin Powers character and his universe as far as he could go. Hell, I also would rather see him try another stab at the proposed but ultimately aborted “Sprockets” movie.

          Personally, the best time for another “Austin Powers” movie was around 2006, when “Casino Royale” w/ Daniel Craig as the new James Bond was released. Before that, it felt like a new “Austin Powers” movie went hand in hand w/ the latest Bond movie (the last three Pierce Brosnan Bond movies came out the same year as all three “Austin Powers” movies).


        • I know part of the joke of Wayne’s World was that Myers and Carvey were waaaay too old to be teens. But I’m not sure that they could still pull off the gag. For a sketch, sure. But could they sustain it for a feature? I don’t know.

          I think there is plenty of material left to spoof in the spy genre. But it will have to mean moving beyond the 60s satire that was the entire point of the first movie. Myers mined the same material to lesser effect in the two sequels. If he just does the same thing again, it’s going to feel beyond tired.

          I would much prefer something new from Myers. But last time he tried that, we got The Love Guru. That’s no good.


  24. 10 Actors Who Need To Make A Great Movie Before It’s Too Late:

    5. Mike Myers

    Last Great Movie: Shrek (2001) – I’m not counting Inglourious Basterds (2009)

    Mike Myers is only 50, so he really shouldn’t be in the dire situation that he’s in right now. It’s not like it’s impossible to be funny when you go past middle-age – for a lot of comedians, that’s when the really good jokes start to kick in. You know, when you’re fed up with your kids and your wife, and you can use them as subject matter like Judd Apatow does. Hell, he actually uses them in his movies. My point is, though… why can’t Mike Myers find a suitable outlet for his talents that isn’t The Love Guru or similarly bad comedy abominations?

    Myers is a certified comedy veteran. As in, the man’s been acting funny since he was 10 years old. Is it possible that he’s just dried up? I guess that would make sense, but I refuse to believe that Mike Myers wants to be described on a website list chronicling failing actors as “dried up.” I mean, this guy was Austin Powers in Austin Powers! He was Wayne in Wayne’s World! He was Shrek in, uh, Shrek (man, Mike Myers likes being in movies named after his characters, huh?). Apparently, though, everyone in Hollywood hates this guy, because he’s difficult to work with. So it’s already too late, I guess. Which is sad, but it’s better than Love Guru 2.


  25. Hear Me Out: Johnny Depp Has Become Mike Myers:

    Now consider the career of another TV star turned Hollywood power player Mike Myers. From Saturday Night Live he made a successful leap to the big screen with Wayne’s World. There were early signs that Myer’s own belief in his unerring comedic talent could prove a problem. He notably had Penelope Spheeris blocked from directing Wayne’s World 2 after the pair fought over the edit of the wildly successful first film. Notably, no one calls the sequel a classic of any sort. Later, the success of Austin Powers: International Man of Mystery gave Myers a new level of fame that gave him a lot more creative freedom and bigger budgets for his next creations. He became a producer for the franchise. While the sequels grew dumber and more outlandish, they made exponentially more at the box office. Leaping from $53 million to $206 mil, then $213 million. Sure, these sequels were less welcomed from critics (Rotten Tomatoes rankings sank from 70% to 51% and 54%), but Myers was on fire! He could do whatever he wanted! So, the actor/producer made The Love Guru. It has an over-the-top sensibility, racial insensitivity, and leaves you wondering who this movie was made for. Sound familiar?

    With a budget of $62 million dollars and stars like Jessica Alba, Justin Timberlake, and Ben Kingsley, it made $40 million worldwide. Basically, it flopped hard. A.O. Scott of The New York Times called it “downright anti-funny,” and Harry Knowles of Ain’t It Cool News predicted it would be a career-killer for Myers. It basically was. Since then, Myers has resurrected Austin Powers for music videos with Britney Spears and Madonna. But a small role in Inglourious Basterds is the only film appearance he has made, not counting his recurring voice work in the Shrek franchise. Myers overplayed his hand. He decided he could do no wrong, went too far, and made a comedy I’ve yet to hear anyone defend. (Though the discussion of The Love Guru on How Did This Get Made is definitely worth a listen.)

    Similarly, Depp is buying into his own reputation too much. Yes, we’ve loved him for the odd outsider characters he could create—but that was when they felt relatable despite all their quirks. These days Depp’s characters are just a jumble of facial tics and one-liners without a beating heart to draw us in. They are just cartoonish clowns. As much as it pains me to say it as a long-time admirer of Depp, it’s not fun anymore. He makes me wish he’d just return to his private island and leave us moviegoers alone. If follows Myers’ example, he’ll do just that, resurfacing only to revive Jack Sparrow and maybe bring about Rango 2-4.


    • Wow. That’s reaching. I don’t see any connection between the two actors at all. Utterly random.


      • It’s coming from a guy who wishes that Myers keep playing forever Wayne and Austin Powers and Depp forever Jack Sparrow. I bet that in another blog he is a music critic who wishes that the Beatles (including the dead ones) should reunite to play “I wanna hold your hand”.


        • I guess.

          Sometimes these articles seem far fetched. They usually stretch to make a point or come up with enough items to turn into a “list”. (I guess “lists” are popular?) But this one seems exceptionally misguided.


        • Lists are easy to do, popular and make 15 clicks out of a single visitor.


        • lol – that’s probably the appeal. Although I find I rarely click through most of these lists. Usually after the first 2-3 entries, I realize the list is pretty worthless and give up. Especially at this “what culture” site. I hate to pick on whoever is writing those articles. He or she is just doing their thing. It’s not like they are promoting their silly lists. But when I see them, I have to wonder why anyone keeps reading them. Maybe it’s just me, but they seem really poorly conceived.


        • I’ve not been reading through the lists at all. They seem mostly simplified opinions.


        • Yeah. It seems like the author comes up with an outrageous list name he or she thinks will drive traffic and then keeps cranking out the same washed-up celebs for list after list.


        • Is this the same writer who thinks Tobey Maguire/Spiderman looked like he was “slumming” with Kirsten Dunst/Mary Jane?


        • The Reddit guys should get ahold of some of these bloggers. I got slammed for writing a “hit piece” on Myers. They don’t know what a “hit piece” really is.


    • re: He decided he could do no wrong, went too far, and made a comedy I’ve yet to hear anyone defend.

      I think that’s called “believing your own press” and/or “believing your own bulls**t.” It happens a lot in music also — so many people RAVE about a performer or band and then said performer/band think that anything they do is charmed…Fleetwood Mac released the mammoth TWO RECORD SET “Tusk” and that started their decline from the charts. Lou Reed released a TWO RECORD SET of song-free guitar feedback, “Metal Machine Music.” Dylan released a TWO RECORD SET of not-very-good covers of other people’s songs, “Self-Portrait.”

      Gee, this is fun…sort-of.


      • I’m not disagreeing with the premise, but will defend “Tusk” as an album. If you’re a fan of the Mac it is a must-have, although radically different from “Rumours”. Fleetwood Mac was a star that burned so bright it couldn’t stay there forever, and their decline, if you can even call it that, was for a whole lot of other reasons including successful solo careers. Plus they were back together and still touring as a band this year, minus Christine. Pretty much anything they choose to do IS charmed. 🙂


        • I can’t defend Tusk the album except to say that nothing Fleetwood Mac did was going to live up to Rumours. The interpersonal squabbles and the pressure to match their previos success almost guaranteed disappointment. However, I can totally jam to Tusk the song:


        • I didn’t intend to dis the Mac — but I worked in a record store circa “Tusk” and while it sold OK, it was a major comedown after “Rumours” and like many of rock’s “double albums,” it might’ve been better as a single disc. It’s a bit like with life performances — just because one CAN solo for 20 minutes doesn’t mean one SHOULD. [I’m NOT saying the Mac did that, but many rockers have…John Bonham of “the Zep” was known to do 30+ minutes drum solos (while the rest of the band got high off-stage) in concert.]

          Maybe Myers is addicted to rugs, not drugs — they could be why he would not leave his trailer…rugs as smooooth as margarine for his studio-bought bagel, yuuumm.


        • lol, “rugs not drugs”

          Good stuff


        • OMG SO LOVE this video, thanks for posting it. One of my all time favorites and love how they incorporated the marching band. OT I know but, well, wow!


        • Hey, sure thing. I wonder how many of my comments are completely off topic. Has to be a pretty high percentage. We’re talking about Lindsay Lohan vs. Hilary Duff in the Rebecca DeMornay article despite the fact Lohan has her own article. Not quite sure how that happened.


    • Pretty astute. By many accounts, Myers takes his “craft” a little too seriously and was fiercely competitive with his SNL co-workers.

      Getting massive success by spawning sequel after sequel of what was basically a decent movie (but is not seen retroactively as any kind of classic comedy) and diluting the formula definitely gave him a bigger head than was good for him.

      I agree that Johnny Depp is buying his own press a little too much also. He needs to split from Tim Burton and start making movies involving serious acting again. He’s neglected his God-given talent as a damn good actor. I still don’t think he got enough praise for “Donnie Brasco” and could still go back down that road.


      • Depp has been relying on the Jack Sparrow schtick too much lately. He used to be so daring. But now it doesn’t seem like he’s taking chances so much as he is going through the usual eccentric motions. He plays every character the same way. Hopefully, he’ll take on a role that challenges him. Donnie Brasco is an excellent example of the kind of thing Depp used to do pre-Pirates.


      • Agreed. Depp is cheapening his legacy, even though he can probably buy half of California at this rate.

        As for Myers, the success of the Austin Powers franchise did him in both creatively and personally–he took himself way too seriously (and I will admit he was brilliant on SNL), and would have been smarter NOT doing the third AP film. Even in this day and age, it’s not many actors who the public will buy more than one sequel from.

        If I had his money, I’d be doing indie projects up the wazoo or else get into production. Even Woody Allen realized the limitations of putting himself in every movie he ever made.


  26. Mike Myers has always sucked:

    This post is sort of outdated, Mike Myers’ career is all but dead, but I’m only writing it because I recently re-watched So I Married an Axe Murderer.

    Several years ago Mike Myers was ridiculed for the release of the god-awful movie The Love Guru. But you know what, he’s always sucked. Myers’ entire career consists of creating cliched stereotyped characters and having them say mundane things. In other words, he simply does not know how to be funny.

    Let’s look back at So I Married an Axe Murderer. It was his second movie. In addition to playing the main character, he also played his character’s dad. He played that dad as a loud stereotypical Scottish man. The dad said utterly mundane things very loudly. He talked about soccer. About his younger son’s large head. About his other son’s reluctance to get married.

    The writers of So I Married an Axe Murderer did try to stretch the dad’s character a bit and had him dancing and singing along to the Bay City Roller classic, Saturday Night. They also had the dad sing Do You Think I’m Sexy accompanied by bagpipes. While those were certainly not stereotypical of old Scottish men, they were certainly also not funny.

    Having a stereotyped character act stereotypical is not funny. Just as merely having that same stereotyped character do something out of his stereotype also is not funny. Nothing the dad said or did was actually funny. It’s almost as if Myers is from an alien culture which has no clue what humans consider funny. Or even what “funny” means.

    And even the main character Myers plays in So I Married an Axe Murderer is stereotyped. The movie called for a character who dates, so that’s what Myers gave them. His character has no given job, education, or background. He exists purely as a person who dates and dumps women and then does beat poetry about it. So all the “jokes” which occur are nothing more than things people ordinarily would say during dates. In other words, they’re not funny.

    Read through these so called “memorable quotes” from So I Married an Axe Murderer to see how unfunny the movie actually is. These are the “best” lines and none of them are funny.

    Or how about his most famous character. Wayne from Wayne’s World. In that movie he played a stereotypical metal-head teenager from the 80s. His character said things typical of metal kids from that time period. But merely saying things that people say is not funny.

    Or his other famous character, Austin Powers. In that role he played a stereotypical British spy who said stereotypical British slang in a stereotypical British accent, like “baby.”

    Why is saying British slang funny? It’s not. So the real question is why Myers thinks repeating slang is funny? As I said, he does not have a clue about what “funny” is.

    I’ll continue, on SNL Myers did a character named Linda Richman. She was his stereotypical “jewish female” character. She said “verklempt.” Why? Because apparently that’s what jewish women say. Why is it funny? It’s not.

    I could go on and on. It’s not just that The Love Guru wasn’t funny. It’s really that Myers isn’t funny. At all.


    • Humor is subjective. Apparently, the author of this article is not a fan of Myers’ humor. Curious that they skipped over Wayne’s World entirely.

      Sounds like someone had an (wait for it…) AXE to grind (groan!)


  27. Mike has a heavy drug problem


    • That’s not one I’ve heard before. Where did you hear that?


      • Yeah- I think you have to cite a source-like a public admission to Betty Ford or a public statement/press release.

        Rumors from those fan rags, while often accurate, really can’t be relied on- their reliability is no where near 100% and sometimes its garbage spread by the fired pool boy, etc.

        For example- Chevy Chase has admitted he had drug problems in the early Eighties and went to Betty Ford- just saw him talk about it on the Biography channel.

        For a personal example- I saw Eric Roberts under the influence- but his problems have been very public and I have witnesses to my story.


        • It wouldn’t surprise me. But there has to be some public documentation before I am going to comment one way or another. I got taken apart by some folks for the well-documented stories I already included in this article. I can’t imagine what the response would be if I started claiming Myers had drug problems based on a comment from some anonymous guy.

          Myers, like a lot of artistic types, has his issues. They are the kind of problems that could conceivably lead one towards substance abuse issues. But I have yet to hear of this in any public way.


      • (Maybe I made this joke before:) Myers has a heavy rug problem, I think…it makes opening and closing the doors to his mansion and imagination difficult.


  28. “So I Married an Axe Murderer opened to mixed reviews and flopped at the box office. But it has accrued a cult following over the years.”

    The movie is a muddle- but I bought the soundtrack for $5 in a bin and have listened to it (or copies) for years. Its a good compilation of early Nineties music and was worth the money in the days before digital downloads (youngsters are befuddled/laughing at me- but this was when CD’s cost $15 and hunting down songs was time and $ consuming)


    • It was a good soundtrack. I had a pal who loved So I Married an Axe Murderer, but I think he was influenced mostly by the soundtrack. The movie has its moments. There are flashes of what was to come in the Austin Powers movies. Unfortunately, they are married to a fairly bland rom com.


  29. Another problem that Mike Myers had arguably, is that he never really played a “normal” guy (w/ the exception of his character in “So I Married an Axe Murderer” and to a certain extent, Wayne Campbell). Mike Myers is really a glorified character actor (he always has to play some eccentric, overly cartoonish character w/ a silly accent and heavy make-up) when you get right down to it. But if you’re a leading man type performer like Myers it’s much harder for audiences to relate to him.

    At the end of the day (especially by the time he made the third “Austin Powers” film), it’s probably safe to say that Mike was tired and out of good ideas (he kept making cheap jokes without extra layers). In other words, Mike arguably cashed in too much on the gimmicks that he created in the previous movies without really introducing newly funny and fresh concepts. Therefore, he pretty much just cashed in all his chips and milked the tit/cash cow for all it was worth so to speak.


    • I agree. Axe Murderer was Myers attempt at being a traditional leading man. But he also included bits of the kind of humor that would define his box office success. The parts of the movie that case Myers as a leading man failed. What worked is the character actor stuff.

      Myers has shown that he can make a movie out of that stuff. But after three Austin Powers movies and the Love Guru, he seems to have run out of juice. Check out his extended cameo in A View From the Top. He is basically trying out material for future Austin Powers movies. It’s an interesting glimpse into how Myers develops material.

      By the time Love Guru flopped, it sure seemed Myers had drained the well dry. Maybe the time off has replenished his idea well. But the fact he’s returning to Austin Powers yet again doesn’t leave me very optinistic. I expect he’ll recycle the same jokes a 4th time.


    • Revisiting So I Married An Axe Murderer:

      One of Mike Myers’ lesser-known films, 1993’s So I Married An Axe Murderer is well worth revisiting, Aliya writes…

      Fear of commitment is one of those topics that pops up a lot in the world of romantic comedies. Jerry Maguire (1996) shows Tom Cruise struggling to say “I love you” in a convincing fashion, and in When Harry Met Sally (1989) Billy Crystal makes terrible excuses to leave early in the morning after each date. Failure To Launch (2006) spelled it out more bluntly than perhaps we needed – in Hollywood, men are afraid of love. Love is a scary business. Even so, it rarely comes with a health warning.

      So I Married An Axe Murderer is that rare film. It suggests that the lead character is right to be terrified of commitment. In fact, running away might just save his life. This is a tricky idea to get right, because the audience needs to believe that the hero can want to be involved in a relationship with somebody he suspects of being an axe murderer, but it works because of the lead performance by Mike Myers.

      In 1992, Wayne’s World was released and pretty much everybody suddenly knew who Mike Myers was. It didn’t take long for Wayne’s World 2 to come along – it was released only a year later – and then Myers went on to become Austin Powers, and the voice of Shrek, and he manages to bring warmth to some extreme characters while always looking like he’s having loads of fun in the process. But in between Wayne’s World and Wayne’s World 2 he tried on the traditional rom-com role, and managed to portray an endearing and sympathetic character in a very different vein from his usual creations.

      Maybe it’s the fact that he looks so comfortable in those overblown characters such as Austin Powers that makes me really like So I Married an Axe Murderer. He plays Charlie MacKenzie, a beat poet coffee-shop frequenter living in San Francisco and dumping any girlfriend who gets too close to him. He lives in a state of paranoia, inventing the strangest reasons to become single once more. But then he meets butcher Harriet Michaels (Nancy Travis), and tries to fight his initial response to push her away. He knows he has a problem. Should he blame all his misgivings on his paranoia, even as evidence begins to mount up? It’s a great idea that drives most of the film.

      At this point I should say that So I Married An Axe Murderer didn’t do well at the box office, and if you went into it expecting a variation on Wayne’s World I can see how you would be disappointed. But I think it’s a shame that Myers hasn’t played more ordinary people onscreen. Charlie is very recognizable and sympathetic. He likes to entertain as a defense mechanism. For instance, at one moment he’s lying in bed with Harriet and they have an argument. Aware that he’s hurt her feelings, he says, “Human blanket! Human blanket!” and climbs on top of her. She pushes him away and turns over. It turns out it’s difficult to live with someone who has to crack jokes about everything. The humor flows from his character, and isn’t forced. He wisecracks to covers his nerves.

      That’s not to say this is a deep film – only that it has an interesting point to make about where humor comes from, and it also makes you think about how hard it is to let down your guard with someone, and to stop being endlessly funny. When can you relax and simply be yourself? That’s where the second strand of the story comes into play. Charlie’s parents are a long-married Scottish couple who have decorated the house in Bay City Rollers pictures and tartan, and they show their love by delivering casual verbal abuse at each other. As Charlie’s dad (played by Myers as well, doing the kind of overblown performance he’s so good at) gets drunk and sings Rod Stewart songs, Charlie’s mum delivers sideways looks that sum it all up very astutely. You can see the unblinkered affection in her expression. It’s a really strong performance by Brenda Fricker that makes you care about this family.

      This brings me to the fact that, however much I like the nervous courtship of Charlie and Harriet, it’s the supporting roles that make this film really entertaining. There are some brilliant actors playing very minor roles. Charles Grodin pops up, as does the stand-up comedian Steven Wright. Phil Hartman plays an Alcatraz tour guide. Amanda Plummer appears as Harriet’s sister, Rose, with a deadpan expression, and Alan Arkin is the Police Captain who wants to deliver job satisfaction to his staff. I don’t know why it’s so good to see an actor you know appear on screen for just a few moments – I wonder if it’s the Geekish pleasure of recognizing them and getting to name them out loud to the room, empty or otherwise – but it really works here. And the script isn’t afraid to make the most of these small sections of humor, even if they’re at a tangent to the storyline.

      As the film progresses it moves away from the romantic comedy aspect and into more serious waters, as Charlie faces his fear of commitment. And then it throws all that hard work out of the window and goes for a full-on gothic ending in a spooky hotel at night with an electrical storm raging outside. Yes, the power and the telephone lines go down, and the creepy music gets cranked up, and there’s a chase and the titular axe. I love the building of tension throughout this section, with the close-ups on the faces of Harriet and Charlie. They are both in the grip of terror, and are totally unable to communicate with each other about it. It’s a great change from the usual romantic comedy about fear of commitment. Charlie has to trust his instincts instead of overcome them. He really is in terrifying territory.

      The film came in for criticism at the time of release over the fact that the main plot doesn’t juggle the elements of romance, comedy, and horror effectively, and it is a bit blunt in this regard, jerking from one section to the next without them ever really coming together as a whole. But I don’t think that makes it a bad film so much as a surprising one. You get taken along for the ride but never sit comfortably, and it’s short and sweet enough to get away with it. Personally I could do without the beat poetry aspect, but it’s one of those things you’ll either love or hate.

      It’s well worth revisiting 1993 and So I Married an Axe Murderer. It has a great score, brilliant supporting actors, and some very funny moments. Plus it’s a reminder that Mike Myers can do more than bring grotesque characters to life, although the Scottish dad is up there with the best of his creations. He can be a romantic lead who isn’t always funny – and it’s that vulnerability, which we can identify with, that really appeals.



      Charlie, a poet, hasn’t had much luck with women, but then he meets Harriet, the girl of his dreams.. or is it his nightmares. Charlie begins to suspect that Harriet is Ms X, a woman who marries then kills her husbands.

      This film strangely feels like pop art. It keeps trying to fit in even though it has it’s eccentricities. That make it an ill fit, but kind of works. As it positions the film as constantly being awkward.

      It also seemed like the film was aimed and marketed to the youth of those years. That mike Myers clearly didn’t identify with or get. He definitely didn’t identify with them as much as with his previous character/effort WAYNE’S WORLD. Which wasn’t solo written by him, but it was a character he created and helped shape. So here it comes off a little like Buster Keaton in Frankie Avalon and Annette Funicello teenage surf movies. There to be seen and laughed at more than identified with or imagine a 30 year old doing Henry Youngman or George Burns jokes and you can begin to see the oddity.

      It’s not written by him, but you can feel his influence all over the script. As he apparently rewrote and improvised a lot of the material. While seeking to play more serious rather than outlandish,

      As it comes down to humor. It is obvious Mike Myers taps into his skills and passions. Which is usually building films around a comedic character of his own invention who is over the top outrageous. He also enjoys playing multiple characters. He tends to try to be a modern peter sellers. As most of his films also while funny feel like an extended skit or a series of skits inhabited by the same characters. Here like Peter Sellers he doesn’t exactly know how to dial it down and play normal. So the main character he plays here is mild mannered and kind of funny, but comes off as shy. Where as when he plays his Scottish father. He seems more comfortable as it allows him to be big and over the top. Leaving him to be one of the more memorable characters. Which is strangely where he feels more heartfelt and overall comfortable.

      The film does allow him to tap into his creativeness but feels bogged down by a more conventional story and plot.

      What he does tap into here is that it is his only romantic comedy. That feels shoehorned into being that rather than an OUT and out comedy. Though it also struggles with being part of the hipster times though realizes how silly the “FRIENDS” generation might be.

      The film does well of playing out the ridiculous paranoia of being in a relationship and looking for ways out of it out of fear. Only here to the nth degree and with a kind of payoff to those fears of sorts.

      The film feels displaces as it seems to want to be a 70’s type comedy (even the title more comes across as a tabloid) that has it’s own language and mood, but seems stuck in the 90’s and forced to fit in with it’s culture and moods. Which is why it feels all over the place, but plays more into 90’s trends. As the film tries to be modern and find it’s footing.

      The film is very colorful with vibrant bright colors continuous in the backgrounds.

      Though he obviously wants to be the main attraction he lets the supporting characters be more offbeat than funny. Like Anthony LaPaglia as his police detective friend who dresses like he is in the 70’s and expected his job to be more like police dramas of that same era.

      The film feels fun as it tries something new and different every few scenes to keep it lively.

      The film is filled with cameos by comedic actors but the biggest scene stealer is actually Charles Grodin. His dead pan responses are just so dry. It is hard not to die laughing at his scenes.

      The film could use stronger direction, especially visually. Though the direction goes show a lot of effort. Which is a good thing. As the director tries to shine a light on his skills, while playing up Mike Myers brand of comedy.

      The film ends up fun overall though will test your endurance level as a fan of mike Myers and his comedy. It also seems like a film to test his skills as a solo leading man at the time.

      GRADE: C+


  30. Two points:

    1) Ever notice that voice-work is the “new television”? Actors that were big/popular once-upon-a-time (or downright has-beens now) now do lots of voice-work in animated/kids’ films? (I understand Teri Hatcher REALLY WANTED a “role” in “Planes.”)

    2) It’s OK to be a BIG JERK in H’wood AS LONG AS YR FILMS MAKE LOTS OF MONEY…but as Myers and Chase have learned (well, likely not, as their egos…etc.), being a BIG JERK is not cool when your films BOMB.

    “As ye sow, so shall ye reap…ya creep.”


    • 1. TV is the new movies. Or at least cable dramas. They are getting more and more sophisticated. Movie stars are being drawn to them for good material. Celeb voice work started to become a thing after Aladdin. Celebs had done voice work before then, but after Williams got lots of praise for Aladdin the floodgates opened. I remember being surprised how star-heavy Shrek was when it was released. That was usually a sign the movie didn’t have much going for it beyond big name stars. When Shrek became huge, voice work became an easy paycheck for even A-listers. Toy Story was another key step in that movement.

      2. I keep saying that. If you are successful in Hollywood, they will forgive anything. Stop making money and they will drop you in a second. Start making money again, and all is forgiven.


  31. though i’m not replying in the right thread…agree with your sept 8 point TC, about what made the original WW and AP great: Satire, and well done. Not just extended SNL skit and cashing a paycheck. Remember Mimi Rogers, as mom to Elizabeth Hurley, describing the absolutely beastly and unattractive Austin? “Women want to be with him, men want to be him?” Every bit as hilarious when you watch it today.


  32. If that’s true then Mike Myers certainly had the last laugh, didn’t he? Look at the amount of money he made ~ probably off of idiots like you!


    • re: probably off of idiots like you!

      HEY, waitaminnit!!! I resemble that remark!

      Actually, Myers WAS a very funny guy, but he likely let his ego get the better of him…either that, or no one in his “circle” had the nerve to tell him that “The Love Goo Rue” was going to offend Hindi folks and it just wasn’t that funny.


      • If being a Myers fan makes one an idiot, I guess I can be painted with that brush too. There was a time when Myers was one of the funniest guys in Hollywood. But like you say, he lost touch.


  33. Read about Mike Myers’ unmade “SNL” Dieter movie:

    Could the “Sprockets” host have carried a whole film?


    • re: Could the “Sprockets” host have carried a whole film?

      NOT LIKELY — especially given the track record of other SNL “concepts” stretched-out to feature length. (See – if you dare – “It’s Pat”/”Night at the Crapsbury”/etc.)


    • From what the article describes, it sounds like it could have worked. I realize most Sat Night Live films have been terrible. But Myers had struck gold with Wayne’s World. And the WW sequel was under-rated. Austin Powers was basically an SNL sketch without ever having been on SNL. If the script was as good as this article makes it sound, yes I think it could have worked.


  34. nice update Lebeau; I always enjoy reading your stuff; and I am really looking forward to the update on Steven Seagal.

    Maybe I missed it the first time, but I never realized Myers worked with Tarantino…. no come back like Travolta.

    The one piece that caught my attention was your quote on Ron Howard being a hot head. I loved his latest movie Rush; and saw a lot of video of the his work while making the film. He comes off as some easy going guy who likes to make movies


    • Hey Mack, glad you enjoyed the update.

      Working with Tarantino is usually good for a career boost. But he hasn’t orchestrated any comebacks on the scale of Travolta since Pulp Fiction. Myers’ role in Inglorious Basterds is way to minor to give him much of a career bump. Especially under all that make-up.

      The bit on Howard being a “hothead” was meant as a joke. Rabin went on to talk about how getting into a feud with Opie is like punching Mother Theresa.


  35. Why did they ditch Elizabeth hurley from the first AP and not have her return for the sequel? i never u derstood that


    • Why Elizabeth Hurley was ditched (and I don’t want to give it away for people who haven’t seen the 2nd “Austin Powers” movie yet), I think it has to do w/ the feeling that the first “Austin Powers” was meant to be stand-alone (a la the first “Back to the Future” movie). Mike Myers and company perhaps felt that they “wrote themselves in a corner” since at the end of the first movie, Austin and Vanessa (Hurley’s character) were married. Also, it was more than likely a reference to how James Bond always has a different leading lady (without any reference towards what happened the movie or movies prior) in each movie.


      • Makes sense, i thought it may have had something in it, Hurleys own movie career hasnt exactly been stellar after this and shes now well known here in oz as going out with a famous cricketer


        • Shortly thereafter, E. Hurley “retired” from the movies…after of course being in several bombs and movies that bypassed theaters. Just like Meg Perky: “I’m walking away from Hollywood…after it stopped returning my calls.”


        • Hurley is someone I keep meaning to write-up. Haven’t gotten around to her yet. I was always surprised she didn’t catch on after Austin Powers.


  36. This blog is great btw, first time visiting, wont be the last, and Ill tell all my friends, great work,


  37. I agree with most of the previous points about his ego and the fact that a lot of his humor seems to have become stale.

    I once considered the original Wayne’s World and the original Shrek to be among the funniest movies ever made. Austin Powers I always found quite funny albeit not quite the modern classic a lot of people my age seem to think it is. Recently I re-watched both Wayne’s World and the first Austin Powers movie and found myself sitting stone-faced through both. With Wayne’s World a lot of the schtick I found funny between 14 and 18 had no impact on me in my thirties. Austin Powers in some ways became a victim of its own success. And so in a way has Shrek. When the animated film debuted in 2001, the approach it took to animated comedy was still new. Now it’s been done to death. In both cases, there’s also the matter of increasingly mediocre sequels (although Shrek 2 was pretty funny) and the fact that a lot of the humor in both was reliant on pop culture references from the eras they were made.

    A lot of Myers’ humor was designed, whether consciously or not, to have a sell-by date. That could be attributed to the fact that he broke through on a sketch comedy show. In some ways, I wonder if maybe that might be the reason why so many SNL big time players never made it in features and those who did flamed out after a relatively short time period: the ability to create sketch comedy that’s relevant and topical as of right now does not translate that well into feature films. Of course it could also be argued (as was correctly pointed out in your entry on Chevy Chase) that many of the SNL gang are more personalities than actors..Bill Murray could be considered an exception: he has a very distinctive personality. But at heart he’s always been a character actor which is why he was able to transition into edgier comedies and serious dramatic roles when the types of comedic roles that he did well in the 80s began to dry up. Likewise Dan Aykroyd was never really a leading man; he always did his best work in ensemble and supporting roles.


    • You are killing it Jeff! I have always seen parallels between the Austin Powers and Shrek franchises. Both of them started out with fresh, funny movies with a little bit of heart. And then they were swallowed by bigger, louder sequels that kept rehashing the same shtick to lesser effect.

      I actually do think Myers could have made it as a dramatic character actor. But audiences weren’t interested in Myers unless he was doing his shtick. But remember, Murray went through his Larger Than Life/Man Who Knew Too Little phase too. Myers could come back with his own Lost in Translation at some point in the future and reinvent himself. I’m not expecting that to happen. If anything, he seems to be retreating to the comfort of Austin Powers again which I think will prove to be a mistake. But I think Myers does have some talent.

      Problem is, very few people are interested in putting up with him if he’s not putting butts in seats. And that ain’t happening.


      • I think that the fundamental problem w/ Mike Myers (besides what I’ve already said about his act perhaps becoming repetitive after a while) is that it seemed like Mike tended to play a caricature (e.g. in “The Love Guru”) than a truly, fully realized character (if that makes sense). Maybe that’s what set Mike Myers apart from say, Peter Sellers, whom Mike was regarded as the “heir apparent” too.


    • The one unfunny think about comedy is some of it mos def has a “sell-by date.” Not to get caught up in apples-to-oranges comparisons, one reason the classic Warner Bros. cartoons (especially Bugs Bunny), the 3 Stooges, the Marx Brothers, George Carlin, and Rodney Dangerfield still resonate with audiences even now is their lack of being, well, era-specific…one can laugh at their zaniness and wit as its mostly timeless. Whereas some humor — Vaughan Meader, Mort Sahl, even Lenny Bruce and some SNL — just aren’t that funny at all unless one lived through the particular era that produced them. (Simply put, unless you’re a history buff, few are going to find Meader’s jokes about the Kennedy family funny.) Heck, a big part of SNL’s early appeal was the fact they used sex and drug references alien (and forbidden) to prime-time audiences. Just saying “Slut!” on the air was funny in the ’70s whereas now, shucks, it’s really not. Lenny Bruce SHOCKED audiences back-when, but I tried to watch a performance “movie” of him in the early ’90s and frankly it was difficult to sit through. I never thought most of Cheech & Chong’s stuff was all that funny, and they are even LESS funny today. (On a NATIONAL LAMPOON album circa 1973/4, a semi-stoned-sounding female voice intoned: “If dope-smoking doesn’t damage your brain, then how come so many teeny-boppers think Cheech & Chong are FUNNY?”)


  38. Jeff, I think that for a movie like AP1, there has to be some familiarity, whether in affection or disdain, for the decade that it is spoofing, otherwise the humor will be lost. That familiarity encompasses a broad range of appreciation for the movies, music, culture, events, humor, and so on, of that time period. What this means for anyone with a wider perspective than Scarlett, above, is that if that particular humor resonates with you, it always will, whereas if it doesn’t, it probably won’t ever have much meaning. I’m among the enduring fans of AP1 and all the Vacation movies, and my kids have joined in, yet I wouldn’t be surprised if it got stale for them eventually.


    • Exactly! I was born in 1970, but I had a great affection for the music and movies of the 60s. The first Austin Powers celebrated those goofy spy movies. You could feel the love for the era. That is what made the first movie different from all the sequels. I won’t ever watch it and laugh as hard as I did the first time. The sequels have squashed some of my enthusiasm. But I still remember how the first movie gave me a warm glow in addition to a lot of belly laughs.


      • Yep. And, as noted by Shemp, in the 70s it was just so outrageous to say the word “slut” on TV. SNL has always had to evolve to stay relevant, with varying degrees of success.


        • However, there was some stuff the original cast got away with that would never fly today. The interview sketch with Richard Pryor comes to mind. Or some of the flagrant drug humor.


        • PS: re: Comedy having a sell-by date: I dunno if anyone noticed, but Chevy Chase’s blase/devil-may-care style looked fine on a guy in his 30s, but not so much on a guy in his 50s…or however old he is. I predict Adam Sandler and Andy Samberg are gonna look kinda pathetic in 10 or so years (unless they “branch out” comedy/maturity-wise).


        • Chase’s late 70’s/early 80’s “too-cool-for-school” bit definitely had an expiration date. When a middle-aged guy does it, you want to punch him in the face. I’m frankly amazed Sandler has gotten away with his man/boy schtick as long as he has.


        • re: I’m frankly amazed Sandler has gotten away with his man/boy schtick as long as he has.

          Attribute it to the “dumbing-down” of popular culture in general…as some have opined: The Mike Judge movie “Idiocracy” is happening now! And Sandler has an “heir” in the equally obnoxious Samberg, it seems.


        • I can honestly say I am unfamiliar with Samberg’s work. But he clearly resembles him. And it seems he has a similar style. I don’t mind the man/boy comedy bit. Will Ferrell still pulls it off. But Sandler’s take is just so lazy.

          I don’t know if pop culture is really getting dumber. Go back and watch some of the crappy comedies from days gone by. There have always been comedians who were inexplicably popular. Although few have had the longevity of Sandler.


        • No one else willing to defend Adam Sandler here? 🙂 Okay, I’ll admit to being a moderate fan of his earlier work. I’m in the right demographic to have been the right age (mid 20’s) when his movie career began in full earnest back in the 90’s. I think his shtick played well when he (and I) were younger, and I’d consider Happy Gilmore (1996) through Spanglish (2004) to be Sandler in his prime. Yeah, he was crude at times, but cleaned up his act reasonably well for his more respectable leading ladies (Drew Barrymore (twice) and Winona Ryder) in that time period, But the man/child act just doesn’t wear as well for an actor rapidly approaching 50, and as the tone of his movies hasn’t seemed to have matured with his age (in fact, it seems to have gotten worse, the few times I’ve revisited his later works), I’ve lost interest in him.

          Something I don’t know if anyone’s touched on is his work under other directors. I enjoyed James L Brook’s Spanglish, featuring a much more restrained Sandler in a more ‘dramedy’ type movie. It disappointed at the box office, though (which may have sent Sandler the wrong signal, regarding his future projects). And though I haven’t seen them yet, I’ve heard good things about Punch-Drunk Love and Reign Over Me.

          And comdey’s definitely a wildly varying taste… I’m exactly the opposite of you on Will Ferrell. He was okay on SNL, but I thought Anchorman was stupid. 😛


        • Agreed to an extent on Sandler. I was never a huge fan of his overgrown teenager schtick. But I did like his first comedy album (the one with The Thanksgiving Song) and I enjoyed The Wedding Singer and some of Happy Gilmore. But in some ways he’s fallen into the same trap that Jim Carrey has fallen into.

          It’s not as if he hasn’t tried to branch out. He’s tried his hand at making more mature comedies (Spanglish, Funny People). He’s also tried to play serious dramatic roles (Punch Drunk Love (still his best film), Reign O’er Me). Each time though, with few exceptions, the message the public seems to be sending is: If he’s not being the overgrown teenager, we’re not really interested.


        • True. If I were Sandler, I’d keep cranking out the lazy comedies too. When he keeps being rewarded with huge paydays, who can blame him. Especially when all of his efforts to expand beyond that have been ignored at the box office.

          Why do you think I keep cranking out WTHH articles? And I’m not even getting big pay checks.


        • Anchorman was stupid. But it made me laugh more than ever movie Adam Sandler has ever made combined. Which is not to say I laughed all that much at Anchorman. I just very rarely even chuckle at Sandler movies. Talladega Nights kills me though.

          I did like The Wedding Singer. Not sure why, but that one worked for me. Sandler softened his schtick a little and even attempted to act a bit. He and Barrymore had some chemistry. When I bash on Sandler, The Wedding Singer is the exception that proves the rule.

          I was in my 20s in the 90s too. Still didn’t think Sandler was funny. It was just more age-appropriate. Happy Gilmore had two funny jokes if I remember. One was Sandler fighting Bob Barker and the other was Steve Buscemi’s odd cameo.

          My brother recommended Spanglish. I like James L. Brooks. I like Tea Leoni. But man, I hated Spanglish. It was just so derivative. I could not wait for it to be over. But I though Sandler was good enough in it. Spanglish wasn’t his fault.

          Punch-Drunk Love was interesting. But ultimately, it didn’t grab me the way it did a lot of critics who praised it. I have to give Sandler credit for giving a good performance. I really except these movies from complaining about Sandler. When I talk about how awful Sandler is, I’m talking about Happy Madison Productions.

          Haven’t seen Reign Over Me but that’s because I have yet to hear from one person who liked it.


        • IN DEFENSE OF Will Ferrell: Ferrell, imho, isn’t doing the overgrown teenager/mad-boy shtick of Sandler — he’s closer to the Bob Newhart style of Bemused, Bewildered, Clueless Doofus. Not to imply Newhart’s “thing” was being a doofus, but his gently blank-faced bewildered-ness in the face of a World Gone Goofy — Ferrell has some of that. I can see why the “Anchorman” movies wouldn’t appeal to everyone, but I thought they were hilarious and Ferrell’s “Spanish” comedy “Casa de mi Padre” is borderline brilliant.

          Sandler, like many SNL-ers, is funny in, should you pardon the expression, short spurts. In a whole MOVIE, not so much.


        • I think you’ve done a good job identifying what separates Ferrell from Sandler. I have never been able to put my finger on it exactly. I think their comedy shares a lot of the same DNA. I think of them both as frat boy comics. But with Ferrell, I feel like he’s really trying. There’s something clever there. With Sandler, I feel like half of his appeal is that he isn’t trying at all. You’re just expected to laugh at him because he’s Adam Sandler.

          Off-screen, I hear Ferrell is a jerk and Sandler is the nicest guy in the world.


  39. BTW Chase is 70, which has something to do with why I defend him.

    Sandler, all I can say there is, the guy really knows his target wallets I mean demographic. It’s all about pre-teen kids (and their parents’ wallets). As if Grown Ups 2 wasn’t painful enough.. Jack and Jill was just on TV and my 11 year old was laughing hysterically when the Jill character was running for the bathroom after too many chimichangas. I mean…. Please. 11th grader found it too juvenile and didn’t watch. For some reason Sandler got Al Pacino to appear so there was an interesting actor to watch, but even so I could only stay in the same room while Pacino was on the screen.


  40. Mike Myers says he was “very proud” to be standing next to Kanye West 9 years ago:

    Myers if finally commenting on that Hurricane Katrina fundraiser from 2005, in which Kanye said: “George Bush doesn’t care about black people.”


  41. I’ve always thought Myers was overrated. He was pretty good on SNL and I like the first Wayne’s World and the first Austin Powers, but he’s basically a one-trick pony: over-acting combined with a bad accent. And I always wondered why they paid him so much to voice Shrek. Couldn’t any voiceover actor do a bad Scottish accent?


    • “Mike Myers doesn’t care about Kanye West.”

      I hope MM makes a comeback, provided he’s learned a bit of “humility,” i.e., quit being an ***hole.


  42. Sounds like a lot of bullshit to me. Every interview I’ve ever read with anyone who’s ever worked with Myers have all said he’s one of the humblest, nicest, most down to earth guys in Hollywood. One of the most talented and easiest to get along with due to his lack of ego. And also one of the most giving comic actors to his co-stars. Both Liz Hurley and Heather Graham said he was so respectfulof and in love with his wife at the time, Robin; that he didn’t even want to do love scenes with the actresses. Nancy Travis said The same thing. Nicole Kidman said it was rare to meet a guy who was that respectful and humble in The entertainment world when she worked with him on SNL.The scene where he’s dancing in his underwear for Tia Carrere comes directly from an inside joke between him and his then wife, which he insisted on including as an homage to Robin. Dana Carvey has said they would stay up all night writing sketches for WW when they were on SNL and that those were some of his fondest memories of his time there. In fact, Carvey had the Church Lady, his only real original character. And if it weren’t for Myers writing Garth he’d have had nothing to do on SNL and certainly no movie career. And not for nothing, but citing Penelope Spheeris as a source of his supposed faults is grasping at straws…. as she is notorious for not getting along with the stars of the movies she’s been lucky enough to direct. So I find all this suspect at best. Because every interview I’ve ever read with anyone who’s ever worked with him have all marveled at not only how talented he is, but also just what an all around nice guy he is.


    • Paul, just because Mike Myers may be a swell enough of a guy when around his co-stars, doesn’t completely excuse him or let him off the hook for the otherwise unpleasant stories (which I don’t feel, I need to recite) that have been told about him. If anything, that makes Mike a “wolf in sheep’s clothing”. Are you telling me that the negative stories that were told about him in I believe, “Entertainment Weekly” just prior to the release of “The Love Guru”, were completely fabricated if not purely exaggerated/blown out of proportion!?

      As for what Penelope Spheeris had to say, well Mike apparently didn’t get along w/ the director of “So I Married an Axe Murderer” either. It seems like Mike Myers will only work w/ directors whom he feels won’t challenge him (e.g. whoever directed “The Love Guru”) or call him out on his crap.

      Also, Ron Howard (who by most accounts that I’ve heard, is a really nice guy) criticized Mike’s professionalism during the whole “Dieter” debacle. Of course, Mike had to retaliate by poking fun at Ron Howard’s hair loss via the Scott Evil character (incidentally, another redhead) in the third “Austin Powers” movie.


    • Hey Paul, believe what you want to believe. I read a story about a guy who met Myers at a bar. He was a huge fan and worked up the courage to approach him. The guy told Myers that he had brought him and his friends a lot of laughs and he would like to thank him by buying him a drink. Myers didn’t even turn around. Still staring forward he said through gritted teeth, “I can buy my own #@!%ing drinks. Save your money for my movies.” The guy was devastated.

      Maybe Myers was having an especially bad day. Maybe the guy telling the story made it all up (but really, why would he?) I have never met Myers and I’m guessing neither have you. So we’re limited by second hand info.

      But it’s not like the “Myers is an assbag” theory hinges on the word of Penelope Spheeris. Some of this stuff is public record. Like when he backed out of a movie he had written just before filming was supposed to start and blamed it on the script he had written. A lot of people went without paychecks because Myers changed his mind about his own script. Your position is backed by a bunch of PR interviews. Those things are pure BS. I can find articles where Kevin Smith praises Linda Fiorentino. But as soon as Dogma was out of theaters, he changed his tune. Never believe anything an actor or actress says while they are selling a movie.

      Frankly, you don’t have to look too hard to find interviews where people talk about what an egotistical jerk Myers is. And even those who praise him still readily admit he is difficult or politely refer to him as a “perfectionist” which is the polite way of saying “difficult”.

      But again, believe what you will.


      • re: …a bunch of PR interviews. Those things are pure BS.

        Say it ain’t so! [sarcasm] Yeah, EVERYbody loves their movie when they’re on The Tonight Show pimping, er, promoting it then it comes out a few years later that “it was a horrible experience.”

        re: Like when he backed out of a movie he had written just before filming was supposed to start and blamed it on the script he had written. A lot of people went without paychecks because Myers changed his mind about his own script.

        I’d call that being a jerk.

        Also, in Sarah Silverman’s memoir “The Bedwetter” she shares about when Myers was mean to her during a writers’ meeting.


        • That does it for me. How can you be mean to Sarah Silverman?

          But hey, he’s so devoted to his wife he doesn’t even want to film love scenes with Liz Hurley and Heather Graham. Yeah, right! My wife might read this but I’m okay going on record that I am completely willing and excited about the prospect of filming love scenes with either Hurley or Graham any time they are inclined to do so. Call me!

          By the way, that wife he was soooooo devoted to… yeah they filed for divorce in 2005. Seems like maybe those PR interviews don’t tell the whole picture.


  43. robin williams eddie murphy did drama myers should do it it could have audiences see him in a new light


  44. By the numbers: Saturday Night Live goes to the movies:

    Wayne’s World (1992)

    The first film adaptation of the Mike Myers-created sketch of the same name is the most commercially successful Saturday Night Live-born film in a walk, and one of only two SNL films (the other being The Blues Brothers) that were considered worthy of a sequel. In fact, Wayne’s World was such an unexpected hit—landing in the top 10 highest-grossing films of 1992—that it kicked off a nearly decade-long quest on the part of producer Lorne Michaels to replicate its success, first via a quick-turnaround sequel in 1993, then a string of increasingly ill-conceived SNL-sketch-derived films released at a clip of roughly one per year for the rest of the decade. But none were able to recapture the strange, zeitgeist-y magic of Wayne’s World.

    Part of it was timing: “Wayne’s World” was one of of SNL’s most popular recurring sketches in the early 1990s, thanks in large part to the way its format—two slacker rocker dudes (Myers as Wayne Campbell and Dana Carvey as his sidekick, Garth Algar) broadcasting a public-access talk show from a basement in Aurora, Illinois—allowed for incorporation of the show’s weekly special guests, as well as a slew of sorta-catchphrases (“Schwing!,” “…NOT!,” “Party on,” etc.) that instantly entered the popular lexicon. The film version smartly adapts these qualities to the big screen, weaving celebrity cameos and pop-culture references into a plot centered on the compromises involved in taking a small-time endeavor like a public-access show—or, if you will, a late-night comedy sketch—to the big-time. The TV-host aspect of the premise also allowed for the sort of fourth-wall-breaking and self-referentialism, via Wayne’s narration and asides to the camera, that would become increasingly prevalent in mainstream comedy in the coming years. In addition to the film’s enduringly silly quotability (“Actually, it’s pronounced ‘Mil-e-wah-que,’ which is Algonquin for ‘the good land’”), it’s this aspect of Wayne’s World that holds up best today, even as its references and plot specifics look a little moldy for two decades’ remove. [GK]

    Wayne’s World 2 (1993)

    As the first, and really only true sequel in the library of SNL films (the years and cast change between the original Blues Brothers and Blues Brothers 2000 render the latter more of a spiritual sequel than a direct one), Wayne’s World 2 had to figure out how to extend an already over-extended premise. The solution wasn’t particularly elegant, saddling the newly successful, ostensibly more mature Wayne (Mike Myers) with a vague desire to find his purpose in life, which ends up being holding a massive rock concert, called WayneStock, in his hometown of Aurora, Illinois. But mostly, Wayne’s World 2 is concerned with trotting out celebrity cameo after celebrity cameo (Drew Barrymore, Charlton Heston, Heather Locklear, Rip Taylor, the sweaty torsos of the members of Aerosmith) and driving its predecessor’s catchphrases into the ground. The script—penned, like the first film, by Myers alongside Bonnie and Terry Turner—also gets routinely sidetracked by a subplot involving Wayne’s girlfriend, Cassandra (Tia Carrere), whose ascendant music career both mirrors the first film’s plot and gives the sequel its villain, music producer Bobby Cahn (Christopher Walken), who fills more or less the same role Rob Lowe’s smarmy TV exec did in the first film.

    Wayne’s World 2 is burdened by a tangible flop-sweat as it struggles to re-capture lightning in a bottle. Imbued as it is with the spirit of sketch-comedy, the film has its share of memorable stand-alone sequences, including a brilliantly weird late-movie homage to The Graduate. But success spoiled Wayne’s World, turning its scrappy heroes into world-beaters and giving them lame new challenges to rise above. (Garth’s obscenely sexy new girlfriend, a femme fatale played by Kim Basinger, serves as a perfect personification of this problem.) It’s completely understandable why a Wayne’s World sequel seemed like a good idea in 1993, but the results show that Myers and company should have said “No way!” instead of “Way!” [GK]


  45. i honestly think he can do drama 54 was amazing he has potental


  46. It’s time for another Austin Powers movie.


    • Mike Myers certainly thinks so. I think it would be better to leave that character alone. I loved the first movie. But every sequel cheapened it just a little more.


  47. yes another waynes world movie would help too but he should try drama not do a stallone or ford and head to a franchisee when his movies flop


  48. a shrek 5 could help


  49. Thanks for the catches! Updated.


    • You’re welcome.

      The only reason I’m pointing out your typos is because you asked people to – not to pick on you. 🙂

      By the way, the sentence in the Arnold Schwarzenegger article actually had two typos:

      “He move to the United States as soon as possible to compete on a global level.”

      You fixed “possible,” but the word “move” still needs a “d” at the end. 🙂


      • No worries. I am sincerely grateful when people point these out so I can fix them up. Added the d to moved. You can be my honorary editor. Keep ’em coming!


  50. Daniel Craig says that Austin Powers “f***ed” the James Bond series:–212553

    By Katie Rife@futureschlock

    Dec 3, 2014 •1:06 PM

    On the eve of the live streaming of the announcement of the title and official cast of Bond 24, series star Daniel Craig explains why the Bond movies are mounting this kind of spectacle, as opposed to one that involves volcanoes and S.P.E.C.T.R.E.

    In a 2012 interview with the Bond fansite MI6 that resurfaced this week, Craig says that the reason the most recent Bond era has been so serious is because when he joined the franchise in 2005, a certain dentally impaired secret agent parody had rendered Bond’s campy past irrelevant.

    “We had to destroy the myth because [the Austin Powers movies] fed us,” Craig said. “I am a huge Mike Myers fan, so don’t get me wrong, but he kind of fed us, made it impossible to do the gags.”

    He also kind of f***ed his career with The Love Guru, but that’s beside the point. Fans of gimmicky antagonists shouldn’t give up hope, as in the same interview Craig points towards Skyfall’s Silva as a sign of the series’ return to over-the-top villainy. “If Blofeld turned up again, it wouldn’t be a bad thing,” Craig says, although we’ll see what happens when—and if—Austin Powers 4 comes out.


  51. Mike Myers is a jerk who’s notoriously difficult to work with. He’s a nasty diva in a pair of pants. I don’t know if he was always this way, or if he became a jerk after he’d achieved super-stardom, but writers, directors, and fellow performers find him extremely unpleasant.

    Of course, he always comes across in interviews as sweet and endearing. But, the guy’s a good actor.


    • From what I have read, it seems like he was always a “perfectionist” which is code for “diva”.

      It’s funny you mention the interviews. He does come across like a sweet guy in interviews. I frequently have flattering interviews thrown at me as evidence that Myers isn’t really a pain in the ass to work with. I find it incredible that some fans can’t grasp the concept that Myers would behave one way in front of the press and another way when the press is not actively interviewing him. And yet, this is the mindset.


  52. Mike Myers And HBO Are Going Into Business Together, Get The Details:

    You’ve seen him put on funky glasses and fake teeth in order to make the world safe. You’ve seen him wear a trucker hat and rock out to groovy tunes. You’ve heard him talk about being an ogre opposite Cameron Diaz. And now, you might soon see Mike Myers doing some wild and crazy shit all over HBO, as the actor has entered into an overall deal with the premium cable network. Whatever will become of the TV landscape?

    The deal between Myers and HBO is set for two years, and is exclusively within the TV realm. It marks Myers first major TV presence since leaving the Saturday Night Live cast in 1995, and it’s almost impossible to guess where his influences will be felt the most. This is a development deal, which obviously doesn’t necessarily mean Myers will be involved in a performing sense. But I find it hard to imagine him only incubating others’ projects rather than diving into it with both feet.

    On the one hand, he’s a creator who revels in character-based stuff. From sketch-born Wayne Campbell to Austin Powers to…that Love Guru thing…Myers has been largely successful, especially at the box office, at focusing on singular characters more than crazy inventive plots. And though it would be reductive to say HBO comedies don’t have great plotlines – and irresponsibly incorrect in the case of something like Curb Your Enthusiasm – they’re all built around standout personalities. Perhaps Myers will develop something more fragmented and off-center like Tracey Takes On or with a more heightened reality like The Comeback.

    But on the other hand, the last thing that Mike Myers got involved with – other than returning to SNL as Dr. Evil for a bit about North Korea – was last year’s Supermensch, which he co-directed with Beth Aala. A documentary about talent manager Shep Gordon, this showed off a less-scatalogical side of Myers’ personality that didn’t get serious so much as heart-sleeved. So maybe he’ll get into something more in tune with HBO’s comedies that don’t rely as much on silliness. I keep saying comedies, because the old crystal ball isn’t showing me Myers as the guy who creates the next version of The Wire. Although…

    Of course, it’s entirely possible that Myers will be a tornado of creativity, putting together projects in every genre imaginable. Let’s try and read into his words from the press release to see if we can get an inkling of what he’d like to work on.

    I’m thrilled to be at HBO.”

    Nope, not gonna squeeze anything out of that. Get randy with HBO and Mike Myers in 2015-2016, wontcha?


  53. You see him on the SNL40 thing last night, Lebeau? Was pretty interesting, I thought. I saw about a zillion people on Twitter commenting that they didn’t know about the whole Dr. Evil/Lorne thing. They clearly need to read more WTHH!

    Liked by 1 person

    • Could not agree more. I saw your Tweet last night and thought the Myers-Kanye connection was also interesting.

      By this point, I am fairly certain Myers and Carvey have put whatever beef they had behind them. I don’t know that Carvey was ever all that upset with Myers stealing his impersonation. It’s not like Carvey was doing anything with it. I imagine Carvey would have liked to have been asked or at least given credit after the fact.

      Any time I see Carvey I am just grateful the dude is alive.


      • I wish Myers had made some sort of throwaway reference to the MTV thing. Something like, “It’s okay, I think he likes Obama…” or something. I don’t know. Just a little nod would’ve been fun.

        That special could’ve been great but they completely lost their momentum. Kanye’s performance brought it to a grinding halt. Shame. It was still enjoyable, though.


        • I had to squeeze in The Walking Dead last night for my weekly recap. I ended up fast forwarding through all the musical acts just like I do when I watch the regular show.

          On the whole I really enjoyed it. I thought it was a fitting tribute to 40 years of SNL.


      • Penelope Spheeris on Wayne’s World, Dating Extras, and Why She Didn’t Do the Sequel

        Which was more of a boy’s club: the metal scene or TV and movie producers?
        They both didn’t treat women all that well. The metal scene was a little more overt about their transgressions against women, and minorities. But the executives were more subtle about it. Sneaky bastards, what can I tell ya? It’s okay if I insult them these days because none of the people I was working with are still at the studios … I don’t think. So I don’t care anymore, I’ll say whatever. Mama done passed that age. That whole thing with me and Mike [Myers] on Wayne’s World 2 … I was just telling the truth, but then I got into a lot of trouble for griping about not getting hired. I’ve always had kind of an unfiltered voice, as it were.

        So you didn’t turn down Wayne’s World 2?
        No! No, that’s not true. They didn’t want me to do it because I wouldn’t do the cuts that Mike wanted on the first Wayne’s World.

        Can you talk a little about those cuts?
        That whole thing, they don’t want me to talk about it. But Mike didn’t want me to Wayne’s World 2 because I wouldn’t do requested cuts on the first Wayne’s World. I got shit on right there, but that’s cool. Honestly? There were 11 pages of suggested cuts. I don’t know if I’m exaggerating when I saw that the pages were singled-spaced, but there were a lot of notes. It’s not his fault! It’s not his fault, because he wasn’t around when we had the test screening, so he didn’t see what happened with an audience. His dad had passed away, and he was a mess because he loved his dad so much. He went back to Toronto, so when he came back and we kept saying, “Hey, man, it’s perfect,” he kept saying “No, here’s all the things we have to do.” It was just bad timing. If he had been there for that test screening, there wouldn’t have been a problem.

        Can you give an example of how you had to essentially plan the film three ways: your way, Dana’s way, and Mike’s way?
        [Laughs.] See, the great thing about Mike and Dana — and all great comedy teams, really — is that part of the way they get their jokes and energy is by trying to one-up each other. So it got to a point with a lot of comedy teams where these guys downright hated each other. Mike and Dana had their disputes, but really, it had a lot to do with Mike getting an idea, and then Dana feeling compelled to one-up him. Then the other way around. So I had to shoot it my way, then Dana’s way, then Mike’s way, then sometimes the studio’s way. But I knew all along that I would be okay because I had it my way. Sometimes their way worked better, you know? Use whatever works. But when I get in the editing room, there’s nobody saying, “Hey, do it this way.”


      • Why we never got to see Wayne’s World 3

        ‘Wayne’s World 2′ wasn’t much of a hit

        Paramount Pictures, the studio behind Wayne’s World, presumably lost a lot of interest in a third installment after taking a look at the box office receipts for Wayne’s World 2 in 1993. While it certainly has its funny and memorable moments, it didn’t quite capture the magic of the original. Critics thought it was fine, but not as good as the first Wayne’s World—it has a Rotten Tomatoes score of 60 percent, compared to 86 percent for the original. Additionally, it made $47 million at the domestic box office—well under the $121 million of its predecessor. It all added up to a lack of evident demand for Wayne’s World 3, and Hollywood wasn’t going to put up the tens of millions of dollars required to make it happen.

        Mike Myers got too busy

        The late ’90s or early ’00s would’ve been the right time to strike quickly with another Wayne’s World movie, but Mike Myers was simply too busy with other projects. After Wayne’s World 2, Myers regrouped and came up with another over-the-top, irresistible character: Austin Powers, a British spy straight out of a candy-colored ’60s British spy movie. The first movie in the series, Austin Powers: International Man of Mystery, was a modest hit, but built up such a huge home video following that the 1999 sequel Austin Powers: The Spy Who Shagged Me made more than $200 million at the box office; the third movie, 2002’s Austin Powers in Goldmember, did even better. Making those movies, along with voicing the main character in the Shrek series and taking roles in films like 54 and Mystery, Alaska, didn’t leave a lot of time for much else.

        Dana Carvey and Mike Myers weren’t getting along

        The success of Austin Powers can be partially blamed for why there was never a third Wayne’s World movie. The character of Dr. Evil parodied several James Bond villains, particularly the similar-looking Ernst Blofeld of You Only Live Twice. But his clipped speaking voice, distant demeanor, and some physical mannerisms—including extending his pinky finger while talking—are very similar to characteristics exhibited by Myers and Carvey’s old SNL boss, Lorne Michaels. Or, as Carvey has suggested, Dr. Evil’s quirks were taken from Carvey’s around-the-studio impression of Michaels. That, along with some other issues (an early draft of Wayne’s World 2 apparently had very little Garth in it), prevented Myers and Carvey from speaking to each other for years. Happily, they’ve since made up and have appeared at Wayne’s World screenings and on SNL together.

        Dana Carvey had serious medical issues

        Carvey wasn’t physically available to make Wayne’s World 3 when it would’ve most logically entered production, sometime in the mid-to-late-’90s. Nor was he able to do much work at all—he had some major health problems. Experiencing chest pains, Carvey went to a doctor, where it was discovered that blood wasn’t properly flowing to his heart. He underwent an angioplasty, a procedure in which an artery is forced to stay open through the insertion and inflation of a small balloon. In fact, he ultimately had to undergo the procedure three times—the artery kept re-clogging, despite the supposed fix. In 1998, Carvey submitted to the last-ditch effort of a double bypass, and yet the chest pains continued. That’s when tests revealed his surgeon had operated on the wrong artery. Carvey had to get the procedure done on the correct artery (with a different doctor). He’s since made a full recovery; he also sued the original surgeon and settled out of court in 2000.

        Mike Myers doesn’t seem too passionate about it

        Probably the biggest reason why Wayne’s World 3 has never happened is that Mike Myers, who created the character of Wayne pre-SNL, for Canadian television, doesn’t seem to want to do it all that much. In 2008, Myers and Dana Carvey appeared as Wayne and Garth at the MTV Movie Awards, leaving many fans to wonder if a third big-screen outing was in the offing, but Myers said he did it mainly to get “caught up” with his old friend Carvey. Three years later, Carvey hosted Saturday Night Live and brought in Myers for a “Wayne’s World” sketch. 

        That reportedly sparked something in Myers, because in 2012, JoBlo and Entertainment Weekly reported that he’d written a screenplay for Wayne’s World 3. It was set to be a movie about transition and aging, with Wayne and Garth trying to make the move from cable access television to an online streaming show. Soon after that news, however, Myers’ team sent out a notice to refute it all, claiming Myers hadn’t completed a script…nor was he even working on one. 

        Myers and Carvey played Wayne and Garth again for the SNL 40 special in 2015—and once again, it sparked movie rumors that Myers good-naturedly shrugged off. When asked by The Canadian Press if there were more Wayne’s World films in the future, he said he was open to the idea. “It would be an interesting examination of Wayne at 50,” Myers said. “I don’t know what it would look like, but the idea of it makes me laugh and Dana and I had a blast at the 40th anniversary, so I don’t know.”


  54. Watch Mike Myers in a 1987 TV pilot:

    Myers filmed 110 Lombard for Second City with Bonnie Hunt, Ryan Stiles and Richard Kind.


  55. Mike Myers received a late invite to SNL 40, got no chance to rehearse Wayne’s World:

    Myers tells Letterman he saw the ads for SNL 40 and was wondering why he wasn’t invited. In fact, Lorne Michaels didn’t give him a call until a week and a half before the live broadcast.


  56. Mike Myers’s Comeback is Groovy, Baby:

    t’s been five years since we last saw his face in a movie, six since his last proper starring role. So what has the man who created Austin Powers been up to all this time? Playing floor hockey, writing haiku, painting Colonel Sanders, and making an improbably engrossing new documentary about Alice Cooper’s manager. You know, just the usual stuff.

    By Chris Heath

    June 2014

    Mike Myers has lived in New York for years, one of many things about him that few people seem to know. He receives me in the SoHo workspace he has taken on; until recently his office was in his house. “Not a good idea,” he reflects. “It’s a lose-lose for everybody.” He lives there with his second wife, Kelly, and his two-and-a-half-year-old son Spike. On the day we meet, he and Kelly are expecting their second child. “Any second,” he explains, and he means it quite literally. He places his iPhone on the table next to him, and as we talk he looks at it anxiously when each new message pings, then shakes his head. Not yet. (A girl, Sunday Molly Myers, will arrive eleven days later.)

    Though Myers will bristle slightly at any suggestion that he has disappeared in recent years, it is simply a fact that it has been quite a while since most people have seen him, except in the endless re-runs of his past glories. His face last appeared on screen for a few vivid moments in Quentin Tarantino’s Inglourious Basterds and that was five years ago; the last movie he was instrumental in creating and starring in was in 2008. That was The Love Guru, a rare failure for him, both critically and commercially. Since then, there have been occasional rumors of further Austin Powers and Wayne’s World sequels, but nothing has been confirmed. The project that has finally brought him back into the spotlight, or at least hesitantly hovering around its edges, is a documentary he has directed, Supermensch: The Legend of Shep Gordon. Gordon is best known as a rock music manager and became friends with Myers after their negotiation over what song by Alice Cooper, Gordon’s longest-standing client, Myers could use in Wayne’s World. Not the most obviously fascinating subject, you might think, but the strange and affectionate movie Myers has made is unexpectedly engrossing.

    In person, Myers is stranger still but equally engrossing. Though he is friendly, and at times very funny, for the most part he talks in a way that, superficially, seems wildly different from the tone of the movies that have made him famous: If there are two ways to answer a question, one of which involves a cheap and easy laugh and one of which encompasses thoughtful and unusual self-examination including quotes from, say, a film studies theorist, Myers is generally drawn to the latter. As a consequence, some of what Myers says may seem a little pompous or pretentious when written down. If so, the words themselves don’t fully convey the strange mixture of passion and sweetness with which they are said by a man who seems, for the most part, just deeply and intensely enthusiastic about working things out—and often doing so in ways that his most famous successes might never lead you to suspect.

    At the start, after he has made a cup of coffee—there are assistants somewhere in a back room, but they are not required—we sit on the same side of a long table, facing each other, and I begin with the most obvious question of all:


    Where on earth have you been?
    Every time I make a movie, it’s usually three or four years between. I write most of what I do and create most of what I do. I have four or five creations in my head right now, in fact. That actually takes the longest time, just to sort of figure out which is the one that is appealing to you. And then it takes a long time to write them. On top of that, I also love to take time off. I play floor hockey twice a week here in New York City, I have a great group of friends here. And two and a half years ago I had my first child and I really wanted to be present for that, I wanted to just take it in. And it’s just been…I mean, it’s the happiest time of my life. I had no idea. I knew I would like it, I didn’t know I would love it this much. And then during that time, I was working on Supermensch, which took probably two and a half years. I think there might have been Shrek 4 in there. I can’t remember. Before the kid I don’t even remember, to be honest with you. Everything is “before kid” and “after kid.”

    What did having a kid teach you that you didn’t expect it to?
    Are we ready to go down a very corny field? Adam Sandler, when he heard that Kelly and I were pregnant, called me up and said, “You’re gonna love it—it’s like falling in love for the first time when you’re twelve, but it’s every day.” And I think he undersold how momentous it is. And I’m going to sound corny again—so corn alert—but I didn’t know that there was that much love in me, to be honest. Dana Carvey says it’s like finding a room in your apartment you didn’t know you had.

    Did you worry that it wasn’t there?
    No, I just didn’t know. I wasn’t looking for it.

    The last time people saw you, which was nice but unexpected, was in Inglourious Basterds.
    I never have a five-year plan for anything. One of the most influential things I ever saw was Steven Soderbergh’s acceptance speech, I forget which movie, where he said he just makes things. I reference him at least once a day. To the point where a friend of mine got me a needlepoint that said WHAT WOULD SODERBERGH DO? It’s in there. [He gestures towards an open doorway down the hall] He just makes things.

    And I make things. I make about a painting a week. I started painting about two and a half, three years ago. A friend of mine who’s an amazing painter named Damian Loeb, I would go over just to watch him paint, and then one day he said, “Why don’t you paint?”

    What was your first picture?
    My first painting was of my wife, Kelly. My second one was of my dog, George Harrison. And then I got into this Colonel Sanders thing.

    Colonel Sanders? Help me understand that.
    Growing up in Canada, looking south at America, they are so amazing at creating identity that they even have enough leftover to come up with the colonel who is the colonel of chicken! As a kid I literally said the words, “Why are they militarizing chicken?” Because I didn’t understand the Kentucky Colonel of it all. Our whole family was obsessed with the Colonel. For me show business was buying Kentucky Fried Chicken. Because it was nationally advertised, and it seemed exotic. First of all, it’s a great character. He has his own unique silhouette—you can draw him in three lines. On the day that Lucian Freud died, I painted my version of a Freud with the Colonel, naked, holding a palette, painting himself. Then I did the Colonel with the Pearl Earring. Then I did the Colonel Lisa. You know, which is the Mona Lisa with the Colonel. This is so just a hobby. It is just making stuff. That’s all I want to do, is just make stuff.

    Do you still paint Colonels?
    Oh yeah. Yeah, I do. I know. It’s just a fun constant, you know what I mean?

    We all need a constant in our lives.
    And it’s just for funsies. So it’s not gonna be a “I’ve suffered for my art and now it’s your turn.” I also make GarageBand tunes. I make one a day. I have now for eight years.

    What do they sound like?
    Um, they usually end up sounding like the Pet Shop Boys. And the Lightning Seeds, and a bit like Joy Division, and it can sound like Kraftwerk. I made one this morning.

    What can you tell me about it?
    I downloaded an mp3 of Howard Beale’s speech from Network—”I want you to get mad…”—and I recut it and Auto-Tuned it. One of the things in GarageBand is when you Auto-Tune it, it gives you a random melody. So that’s my melody, and then I write my music around that random re-melodizing effect that occurs, and then I select a beat.

    What did you call it?
    “Just Let Me Have My Steel-Belted Radials.”

    Who will hear that?
    My brother Paul. Kelly, from time to time. She’s very patient. She’s very pregnant right now, has less time to hear my GarageBands. And I’ll hear it. I’ll review them, I’ll re-edit them. But the point is process.

    There’s some of your music in the documentary, isn’t there?
    Yeah, but, dude, good luck trying to find which it is. I made two little things just because we had no money and it needed nine seconds here and eight seconds there. [In the credits supplied to the media, Myers’s pieces are given the titles “Disco” and “Idiot On The Mount”]. It’s just to make stuff, you know. I’ll write poems, too. I’ll write haikus. I also make iMovies all the time, too. Lately all my iMovies have been Spike, of course, so I did A Hard Day’s Spike. I recreated the Hard Day’s Night opening but just with footage that I had of Spike.

    All of this—what does it give you?
    It connects me to creativity, which is, which is to me the greatest gift my family gave me: saying that being an artist is a noble profession. At the end of the day I’m an artist. Sometimes it’s in the comedy arts.

    And these things you make like this are separate from your career? They’re just for personal creativity?
    Yeah. But I’ve had an interesting career, I mean, Austin Powers was personal. I thought you would have to have grown up in my house basically to get the references. Ultimately we were spoofing spy spoofs.

    So when you have something that is so personal but then it connects with people, do you understand why?
    Um, I don’t. There is an oscillation that goes in my head, it’s a 60-cycle hum between two states. [The first is] that is the audience is my boss, it’s a lot to ask for them to come to see something, so it had better be of the highest quality. This is the mentality I grew up with with my dad—that you have to be nice to your boss, and you have to work hard for your boss. Everybody on the planet is in the service industry. That’s the paradigm: that we’re here to serve. That’s one part of the oscillation. Then it oscillates over to “I need to be very connected to what I do and it needs to thrill me on just the whimsical…silly…” Things don’t need to exist, you know. Movies don’t house, clad, shod, cleanse, or feed you. But I’m so glad there’s movies. I love them. So that’s the 60-cycle hum that allows me to make something somewhere in between there. It’s almost like a maglev—in between those two magnets is where I will make something.

    Very often that has worked amazingly for you. But obviously the last movie, The Love Guru…

    …didn’t seem to connect with people.

    Was that a shock?
    Um, nothing’s a shock. You kind of have to make it and you put it out there. There’s a lot in that movie that I love. It’s a very long season. So I Married an Axe Murderer made even less—I love Jack Kerouac, and I love San Francisco, and I wanted to do a romantic comedy that genre-mixed a bit. It was designed to be a big summer movie, and it has since over time come to be the thing that people will say, “Oh I love So I Married an Axe Murderer.” But at the time it was scathingly reviewed, and that reaction was shocking to me. And then Austin Powers happens and Shrek. It’s a long season. I just make stuff, and sometimes it does well. But there’s a lot in that movie [The Love Guru] comedically that I’m really, really proud of. I completely recognize it didn’t meet an audience.

    But I wonder how hard it is to understand why.
    I can tell you this, which makes people laugh: I tried my hardest. I can tell you that much. I just love making stuff, dude, you know, you can’t be too attached up and you can’t be too attached down.

    Continued (page 2 of 4)

    I recently read the New York Times’ review of The Love Guru… [Myers raises a halting palm toward me to stop me continuing, correctly assuming that I am about to quote some of their words. It is a review that reaches its peak in the following, breathtakingly scathing paragraph: “Which might sum up The Love Guru in its entirety but only at the risk of grievously understating the movie’s awfulness. A whole new vocabulary seems to be required. To say that the movie is not funny is merely to affirm the obvious. The word ‘unfunny’ surely applies to Mr. Myers’s obnoxious attempts to find mirth in physical and cultural differences but does not quite capture the strenuous unpleasantness of his performance. No, The Love Guru is downright antifunny, an experience that makes you wonder if you will ever laugh again.”]
    I’ve never read it. I won’t read it, and I’d love not to know.

    But you must have an idea…
    No, I don’t read reviews at all, up or down. I have never read a review. The way I knew about what Siskel said [this is presumably the scathing review of So I Married an Axe Murderer] is that Jay [Roach, Austin Powers director] mentioned it to me. I’ve never read a review. Right out of the gate, because I read a lot of biographies, and it is something that is mentioned a lot, getting into the habit of not reading them.

    You just thought that was good practice?
    Do you know what it is? I truly, truly believe that you have to—this, I think, is Stanislavsky—love the art in yourself and not yourself in the art. I’m very, very grateful to be part of the Hollywood film industry but I never thought that anything that I would do would be so mainstream. I truly, on all things sacred, I thought that I was going to be John Cassavetes, because my training was improv. I was going to go to York University to get a bachelors in fine arts film. Not film production—film studies, which I don’t even think they offer anymore. I read all of the [French film theorist] André Bazin books, 400 Blows is by far my favorite film hands down of anything, you know. Strangelove [he gestures to the Dr. Strangelove poster on a nearby wall] is, comedically, the altar to which we make our offerings. I was a punk rocker, you know. In ’77 I was 14, I’d gone to England, I met my cousins and they gave me “God Save the Queen” by the Sex Pistols, as a parting gift. My dad was so offended by it because he’d fought in World War Two and he was a monarchist that I had to put it in a Jimi Hendrix cover to sneak it in. And from that point on I was “that’s show business but it’s not show business… it’s this weird cottage industry off of show business.”

    But to go from that guy to the guy who made the films you made and had such amazing successes with…did something in your life go awfully wrong or something go awfully right?
    Um. Wow. What an amazing question. I must salute you. [He pauses for some time, as though the verdict is in the balance.] For which I have a definitive answer, which is things went incredibly right and I am absolutely grateful. What I thought I would be, in many ways we were—there’s a lot of subversion in everything I’ve done. The New York Times—according to Lorne [Michaels], I didn’t read it—they had referred to Wayne’s World as “postmodernist”—it’s a teen comedy that had elements of being postmodernist. Spike Jonze, who I love, just asked me to give him his National Board of Review best film of the year award and to write a few words, and I said that what I love about Spike Jonze is he’s like a circus performer who rides two horses. One foot is on a horse called the avant garde, and the other foot is on a horse called being a humble entertainer. And he manages to keep both feet on both horses all the way through, so it’s thrilling.

    But I think, to take your metaphor, that your broad public image is as someone who lives in the comedy stable—and so people maybe don’t realize that your horse arrangements might be a little more complicated than they at first seem.
    First of all, thank you for getting out the equine metaphor stretcher. This gets us back to how not factory-made my career is. Everything I’ve done has been handmade. I love that that was the name of George Harrison’s company: HandMade Films. I’m 50 now, there are two stars on the walk of fame, one for me, one for Shrek, which is insanely flattering. There’s all the insane success. I can’t believe how well they did. It’s mind-blowing, truly. What do they say? If you bat .300 you can get in the Hall of Fame. Which means that seven times out of ten you didn’t connect with the ball. The song that I keep coming back to lately is the song “Across the Universe.” The first time I heard it, it was the first song I ever heard on headphones. And I was like “Wow, this is pop music, but I truly feel like I’m going across the universe right now.” I just think I haven’t lost the sense of the magic of that.

    Is it really true that the very last letter George Harrison wrote in his life was to you?
    Yes. That’s mind-blowing, dude, for the son of a Liverpudlian, a person who worships the Beatles. The letter came on the day of Austin Powers 3 when we were shooting the scene where Tom Cruise, Gwyneth Paltrow, Steven Spielberg, Danny DeVito, Kevin Spacey are doing the Hollywood movie version of Austin Powers’s life as directed by Steven Spielberg, and it was the day George Harrison died.

    Had you ever had any contact with him before then?
    No. And then I got this letter on that day. I cried like a baby, and it’s prominently displayed in my house. He says “…sitting here with my Dr. Evil doll…I just wanted to let you know I’ve been looking all over Europe for a mini-you doll.” And he says “Dr. Evil says frickin’ ” but any good Scouser dad will tell you it’s actually ‘friggin’ as in a ‘four of fish and finger pie’, if you get my drift.” He said, “thanks for the movies, so much fun.” Dude, I can’t even. On the [Beatles] Anthology special I spoke about how I still get teary thinking of that last shot [in A Hard Day’s Night] with the helicopter and all the 8-by-10s and it says B-E-A-T-L-E-S on the door and the helicopter takes off. I love the spirit of that film so much, that spirit got into Austin Powers and Wayne’s World, which is that it’s a party. And he said [in his letter] “I’m sorry I left you on the helicopter that day, I promise I won’t do it again.”

    Did you ever learn how he came to be writing this to you?
    Yeah, but I can’t really speak of it. But it is fantastic and sad and awesome, and this is the magic that I’m talking about that I feel very grateful and privileged to be part of it.

    Um, a while back I was trying to ask you about Inglourious Basterds.

    Aside from your shared encyclopedic knowledge of old war films, what did you and Tarantino have in common?
    He is a very passionate filmmaker—he sees all of this as an immense privilege. I love his movies, first of all. I think only a few filmmakers should be entrusted with dream sequences when they make films. Only some filmmakers should be given the license to make a dream sequence.

    You think there should literally be a license that has to be applied for?
    [nods] I think you must apply for it, and there should be a dream board.

    And what would be the most common reasons for rejection?
    At times dream sequences can be an immodest, athletic, non-connected-to-the-dramatic-question-that-you’ve-posed detour that shows off one’s cinematic chops and breaks the tonal agreement you’ve made with the audience right out of the gate. That would be my biggest problem. [Pauses] Fellini gets to make dream sequences.

    Who else gets a lifetime pass?
    I would say Spielberg. And I loved [Kubrick’s] Eyes Wide Shut, which I knew to be Traumnovelle, a dream novel, based on Schnitzler’s Traumnovelle, so I knew the deal right away, no deal was broken for me, and that is an unbelievable dreamscape that Kubrick’s created. I think Darren Aronofsky has the right to make a dreamscape. I think Soderbergh should also be allowed to make dreams, because there’s nothing that man can’t do. I worship him so much, because he just makes things and some things are for everybody and some things are for a few people. And he takes his time and he drops out, he comes back in. I just think that the dude is doing everything right.

    That’s what I think about with Tarantino, is that only certain people should be allowed to make Grand Guignol, and he has taken the absurdity of that to such an amazing next level and it’s so funny. It’s so fascinating, his universes are such beautiful immaculate universes. I think André Bazin talked about kinetics—which is kind of like, if you were watching the film on the airplane and you didn’t buy the headset, you could still follow kinetically as if you’re a dance partner with the filmmaker and they have their hand on the small of your back, guiding you through it. One thing leads to the next leads to the next, and the dominoes that Tarantino sets up are so fantastic—so it’s appropriate but unusual, appropriate but thrilling, appropriate but scary, appropriate but suspenseful. It’s never not appropriate. Everything is, is organic to itself—even the most fantastic ideosphere he might create. There are rules unspoken, but there’s always an authenticity to whatever ideosphere he creates, you know what I mean? The other thing that is amazing about Tarantino, which is another André Bazin concept, is presence—where you no longer see the frame. So we often talk about “dreams are private movies and movies are public dreams”, you know? In that way Tarantino, Scorsese, Francis Ford Coppola, Spielberg, Soderbergh—for me they create such fascinating worlds that you just don’t see the frame at all, you’re never taken out of the movie, you are just in that public dreamscape, and it’s thrilling.

    Had you ever spoken to Tarantino before he asked you to do the movie?
    No, no, he just called out of the blue. I thought it was my brother Paul punking me.

    Would you have done anything he’d asked?
    I don’t know. What an interesting hypothetical. He called and said “Would you like to play a British general in a World War Two movie?” and I was like “Are you kidding me?” It was amazing. We shot at Nazi headquarters, and first day I got there he was like “Mike, come here”, and I watched a scene where Hitler is having a portrait done of himself. I didn’t know what to make of it except to say, “My god, what an unbelievable, awesome life I have.”

    Hanging out with Tarantino and Hitler for the day.
    Yeah, it’s one of the most fantastic experiences of my life.

    Do you get offered lots of non-comedy acting parts?
    I never get offered anything. I’ve never been offered anything. I’ve never been on lists where I’ve been offered anything.

    Literally? People are not sending you scripts and saying “please could you do this?”
    Since 1991 I have received fifteen scripts.

    That’s impossible!
    No, it’s true. I’m just not that guy. I never will be that guy.

    So if more filmmakers you admired offered you interesting dramatic parts are you totally open to that?
    Yeah, a hundred percent, yeah, absolutely.

    Either I’m crazy or people are going to read this and you’re going to get pestered.
    Oh well, um, that would be very flattering. I’ve just never expected that that would happen, you know. I wrote my own stuff when I was a kid in Toronto doing little comedy bits before punk bands, I wrote my own stuff at Second City, I wrote my own stuff at Saturday Night Live, and I, for the most part, have been able to write my own stuff in the movies. I’ve just been on that trajectory, you know.

    I understand that, but I just assumed you turn everything else down.
    I do turn virtually everything down.

    All fifteen of them?
    All fifteen of them, yes.

    Well, no, because you did Inglourious Basterds.
    [nods] I did 54 [the little-seen 1998 movie about the world of the disco-era New York club Studio 54] because I loved that character so much and loved that world.

    Continued (page 3 of 4)

    So then you turned down thirteen of them?
    Well, I shouldn’t…I don’t know the exact number. It could be as high as forty. But I would say in the fourteen-to-forty range.

    It’s weird to think that for a certain generation the moment they may most readily associate you with in recent years is when Kanye West said “George Bush doesn’t care about black people” on the Katrina telethon while you were standing next to him looking a little…well, I don’t know how to describe you.

    And a bit uncomfortable, maybe?

    Do you remember what you were thinking as he said it?
    I don’t do many things. And I remember watching the television and seeing, because I’m a citizen now, my fellow citizens on the roofs of buildings dying. And I turned into my father, where my dad would shout at the TV. My dad hated injustice. I’ve been called for many, many telethons, hither and yon, and I remember just being so upset and feeling, ironically, that if this was white people on roofs, the army would be there in five seconds. And these are my fellow citizens, who just happen to be people of color, sitting on roofs for multiple days. So when they called me I said, “Yeah, I’ll do it.” I went there specifically because I wanted to help the Red Cross. I was supposed to be by myself, and I was, like, “fine”, then they said “Do you mind doing it with somebody else?” And I always remembered that Live Aid thing of “leave your egos at the door”, so I said, “Sure, of course.” And they said, “Would you do it with Kanye West?” and I said, “Uh, sure.” I actually wasn’t familiar with his work. And then he said he was going to take some liberties with the thing.

    So he gave you kind of a warning.
    Yes, but I didn’t know that the liberty would be calling out the president.

    If you watch the footage, I don’t think he knew.
    I don’t think so either. But the question itself is a little beside the point of what actually went down in New Orleans. For me it isn’t about the look of embarrassment on my face, it is truly about the injustice that was happening in New Orleans. I don’t mind answering the question but the emphasis of it being that I’m the guy next to the guy who spoke a truth. I assume that George Bush does care about black people—I mean I don’t know him, I’m going to make that assumption—but I can definitively say that it appeared to me watching television that had that been white people, the government would have been there faster. And so to me that’s really the point—the look on my face is, to me, almost insulting to the true essence of what went down in New Orleans. You know, there’s a great line by the great Northern English poet Elvis Costello, as sung by Nick Lowe: “What’s so funny ’bout peace love and understanding?” [Myers seems both dubious and slightly irked when I tell him that it was the other way round—the song was written by Nick Lowe but made famous by Costello.] The point being that. What is so funny about peace, love, and understanding? To have the emphasis on the look on my face versus the fact that somebody spoke truth to power at a time when somebody needed to speak? I’m very proud to have been next to him. Do you know what I mean?

    Of course.
    I’m, like, super proud to have been next to him. The look on my face is…to be honest with you, I thought I handled it well. I was like “This is what’s happening…” Because live TV is my milieu, and improv is my training, you know. It has been painful that the culture has at times meditated on my surprise, when it’s really the message, dude. The message, the message, the message, you know. There’s a world of fail culture, and it’s hardly a fail on my part to be next to the guy that spoke truth to power at a time when horrific injustices… [he trails off, point made]

    I was watching it live in a hotel lobby in Northern California, and I can still remember it exactly.
    I’m not downplaying its remarkableness. I mean it is what it is, dude. You know, I’m having a remarkable experience on this planet, a truly extraordinary experience. Given where I’m from, I am so grateful for the extraordinariness of it. I’m having an extraordinary experience on the planet.

    You’ve recently been busy making Supermensch. Do you want to make documentaries, in general, or did you just want to make this documentary?
    I wanted to make this documentary. This is not a career move. This is entirely a labor of love.

    Did you look at, or style it on, any other documentaries?
    I’ve been a fan of documentary filmmaking for forever. I remember going to see even Louisiana Story. Cathy Come Home, I loved that. I think the biggest influence on me would be Italianamerican by Scorsese. Loved Man on Wire. The Kid Stays in the Picture, you have to look at that film because it’s about show business and in essence, truly what the film is about in my opinion is family. Supermensch is about family. That one of the things that we all seek is sanctuary.

    But in the movie you’ve got family and sanctuary on one hand, and on the other fame and celebrity. In its form and in the stories told in it, Supermensch seems like it is celebrating high and hilarious times with the rich and famous, but then it ends up with Shep Gordon saying “there’s nothing about fame that I’ve ever seen that is healthy…it’s very hard to survive.”
    I call fame the industrial disease of creativity. And it is. Fame can be so toxic that it has reproductive harm. From day one in talking to Shep it’s been family family family, and interviewing him it became clear that everything for him has been a search for that family.

    Have you found fame hard to survive?
    An artist’s duty is to be misunderstood, that’s for sure. It can be weird to have crimes committed in your name. It has been weird to see things written about you up and down that have absolutely no basis in reality. Sitting in Toronto, I thought that was not possible, but having gone through this experience, I’m like “wow, that’s really possible.” That part of it has been odd. And the notion that people have that fame is ego boosting is one that I would have believed in Toronto. It’s more ego death than it is ego restoring. Mostly the exposure that comes with fame is like putting your penis on the table and having everybody saying “that looks like a penis, only smaller.”

    What kind of fictions or untruths along the way did you find most jarring?
    I shouldn’t like to get into those.

    Can you explain anything at all?
    The craziest one, of course, is “morbid fear of tunnels.” UFO alien sex diet…I “only eat salmon.” It’s just not true. Though I do enjoy salmon. England creates many fascinating ones: “He refuses to drive.” I didn’t want to drive in England, on the wrong side of the road. Here’s one: We had 120 people at our wedding. Kelly and I didn’t tell the press. I didn’t grow up going “we have to call the press.” But a private wedding became a secret wedding. Do you see the subtle paradigm of that? “Recluse,” I’ve had. I go out all the time, floor hockey twice a week, we have a standing get-together at our house every Friday, I have friends who are schoolteachers, I have friends who are social workers, I have friends who are painters, friends who are graphic designers, friends who are musicians, and some friends are actors and some friends are filmmakers. I’m very engaged in life. I’m very, very grateful for the approbation and exposure my work has occasioned but when I don’t have a movie coming out, I don’t do interviews. We are talking right now because I have a movie coming out called Supermensch.

    Um…going back one moment, did you just say the words “alien sex diet”?
    [nods] Alien sex diet. I have no idea—I was just told about it. Me and a whole bunch of other celebrities had discovered this diet. You know, my feeling about all of it is that the perks outweigh the quirks, and to complain about it is like saying “Oh my god, these gold bars are so heavy. Why do they pay you in gold bars?” But you asked me a very, very clear question.

    And the movie you made about Shep Gordon really throws out questions like that.
    Yeah. He toiled in the fields of fame.

    It’s weird that his story, when you summarize it, sounds fairly generic, but in the telling it’s much more interesting.
    He is a combination of Brian Epstein, Marshall McLuhan, and Mr. Magoo. He is Zelig, Gump, and P.T. Barnum. He is all of those things. We’re all a cast of thousands, you know. We’re all filled with different aspects of things, we’re all filled with contradiction. I mean intimacy is an interesting contradiction. We want to be in a relationship to be seen but we don’t want to be seen at the same time.

    Toward the end of Supermensch you describe Gordon as “the nicest man I’ve ever met.” That’s not a very promising starting point for an interesting documentary, and yet somehow it isn’t the problem it should be.
    I see what you mean. Shep truly does not see kindness as weakness; he doesn’t see love as a faulty business plan. And when one says “nice”, my tongue is firmly implanted in my cheek—that it can be reduced to the word “nice” when in fact it’s part of a broader, beautiful paradigm.

    The idea of reciprocation and karma runs very strongly through the movie, and most of the time it’s in a positive way. So much so that the viewer almost doesn’t notice that Gordon applies the same philosophy in a consistent but shockingly raw way when it comes to Teddy Pendergrass. [Gordon, Pendergrass’s manager, describes how he unsuccessfully beseeched Pendergrass, who was refusing to take the stage for a London concert as the audience waited, warning him that a decision like that would come back on him. Soon afterwards Pendergrass had a car accident which left him a quadriplegic.]

    Because Gordon’s really saying: I believe in karma, and this guy lets these people down then the next week he has an accident that cripples him. And that what happened to Pendergrass is consequently his fault.
    He’s not attached to fault and he’s not attached to blame. He just believes that stuff goes out and stuff goes back. But I completely see your point and I think it’s a very astute observation that that aspect of his philosophy he stands beside, as uncomfortable as that might be. [Gordon, incidentally, then helped look after Pendergrass until he died twenty-seven years later.]

    I don’t know if I’ve ever seen a documentary before where one of the on-camera interviewees is the movie’s director.
    Yeah. Good question. I don’t know the answer to that.

    Well, you got some good stuff out of yourself, so it clearly worked.
    You should have seen the crap I cut out. We were panning for gold.

    You tell a funny story from the beginning of your friendship with Gordon about being invited to a luau at his house in Hawaii at which Arnold Schwarzenegger and Sylvester Stallone are to be in attendance—”like being at Madame Tussauds, with a pig” as you memorably describe it. It did leave me curious about what the evening was actually like for you.
    I got too quiet. I’m an introvert, ultimately. I’m a site-specific extrovert but I’m mostly introverted, and I don’t do well in small groupings. I can talk to a large group of people and I’m okay one on one, but in small groupings I tend to get very shy, and I just sat there drinking a Molson trying to take it all in. I just observed. You know, all of this stuff happened so fast. I met Shep in ’91. I was a punk rocker up until ’83, however much can one be an authentic punk rocker in the suburbs of Toronto, so that’s eight years.

    You talk in the movie about a difficult period in your life when you invited yourself to his house in Hawaii for a week and stayed for a couple of months. [Myers says in the movie: “He took care of me like as if I was a baby chick that had fallen out of the nest.”] I imagine the audience will assume that this was to do with the end of your first marriage.
    Then they’d be wrong. I was having real problems accepting my father’s death. My son’s birth has been the most amazing like healing for me. But it’s the sense of the one person who I would want to have seen this the most. I’ve said this too many times—it just happens to be true so I don’t know what to do: My dad informed every aspect of everything I’ve done. And I thought I was okay and then I wasn’t. Shep was very helpful in allowing me to just be. The most amazing thing with Shep is he didn’t ask me questions. He didn’t wonder why I was there. And Hawaii is such an amazing place, it’s so restorative. The irony being that my dad was always angry with Hawaii because the Hawaiians murdered Captain Cook: “Bloody murdered him, mate!”

    Continued (page 4 of 4)

    An excellent point, I suppose.
    I had a great experience with my parents—my dad was my hero. A funny Liverpudlian. My mom’s funny as well. She used to do this thing where she pretended she was a zombie and, and my kid Spike loves it, so I called my mom on her birthday and said, “Hey, my kid loves the zombie.” And my mom, without missing a beat, said, “I created a monster.” Isn’t that a great line? I said, “Dude, that’s a really good joke.” She said, “It wasn’t just your dad who was funny, you know.” My dad just had a great way about him, too. I’d say, “I don’t want to go to bed”, and my dad would say, “Well, you have to.” And I’d say, “Why?” And he said, “Because in this play we call life, I play your father, and you play the son.”

    Do you watch a lot of comedy these days?
    I do.

    Modern comedy?
    Both. You know, Lorne has a great expression: “Comedy and sausages are two things that, once you know how they’re made, they affect the appetite.” Comedy done right can be an art form; for the vast majority of the time comedy’s a craft, and there is certain rhythmic constructs that can be learned. What interests me is…one of the loveliest things that Seinfeld said to me about my character Dieter on Saturday Night Live was that it was comedy where comedy hadn’t existed before, and I had broken all the rules of American parody. I was parodying something that nobody had seen. That idea: of discovering new frontiers of subjects fit for comedy. Right now the show that I’m loving is Portlandia with Fred Armisen.

    Your former bandmate. [Myers and Armisen played a set of original synth-pop tunes at a New York club in 2011 under the name The Modern Weepers.]
    Yes, indeed. Indeed.

    What happened to your band?
    We don’t have any time. When you have a kid, everything changes. It was fun. He is such a great musician, oh my God.

    What’s the last movie that really made you laugh?
    Oh, The Trip, I loved. That’s the Cassavetes in me. I think what Steve Coogan does is so cool.

    But that was a while ago.
    Yeah. Yeah.

    Do you know what your next movie will be?

    I guess most people expect either a Wayne’s World 3 or a new Austin Powers.
    I don’t know. Do they? I can’t think of it that way. Two baseball things that are in my consciousness always: One is “you can’t think of the plate, you just have to hit the ball.” You can’t think about anything, you just have to be in that zone. I truly believe that. The other one is this famous story, and I’m probably gonna get it wrong—I didn’t grow up with baseball, but I just remember hearing this story and being blown away—of a very famous American catcher and there’s a pitcher and it’s the World Series and it was game seven, and it was the bottom of the ninth. One more pitch, they would win the World Series. So, all the pressure’s on. The catcher calls a time out to come to the mound. The pitcher goes “what should I throw?” and the catcher goes “I don’t know, throw anything you want.” And he goes “Well why’d you come to the mound?” He said “Cause isn’t it great? Isn’t it great that we’re here?” He’s like “What do you mean?” He goes “When you’re a kid did you ever think that it would be bottom of the ninth, one more pitch?…I just wanted to come and talk to you, that’s all.” He puts his mask back on, they throw a strike, won the World Series. There is a little bit of: You have to stay in that zone, you know. You just have to. And it’s a yummy place. It’s a very yummy, creative, fruitful place.

    And so how far away are you from knowing…?
    I have five ideas. You need to just let them percolate. Everything’s about whether the idea is sparking me. Is this something that I can honor the audience, and make it great, you know? Those are the two things. Often the logistics of moviemaking are, between coming up with an idea and it on the screen, the tendency of the idea is not always to bloom, it’s mostly to rot. It’s an entropic process. So between you pitching an idea and it getting written down, nature takes some of its energy away. Between it being cast, it being shot, it being edited. And then you’re in the theater and the guy in front of you has a coughing attack, you know. This is just the nature of it.

    Are these five all ideas that you hope will all be movies one day?
    I do but I can’t be attached. When I wrote Austin Powers I’d also written a Battle of Britain movie at the same time. This Battle of Britain movie I was certain was going to be it, and then it was Austin Powers.

    Was that a funny movie?
    It honors the heroism of it. My mom was in the RAF and she’s one of those radar ladies with the sticks on the Perspex-covered map of England. The tone that I wanted for it was True Lies. An action movie with some comedy. I love that film. I think that film is tonally one of the more perfect combinations of comedy and action. I’m in for ten minutes, I’m in for two hours with that movie. If I get ten minutes in I’m, like, “Ahhh, dammit, I’m gonna be late.”

    But are you prepared to go back to, say, Wayne’s World or Austin Powers if you decide you want to?
    That’s an interesting question. The quick answer is: Yes, I’m prepared to do anything, you know, if it’s good. If it feels like it’s going to be thrilling. You know, one of the great things of turning 50, one of the great things of becoming a parent, is I get to be me. I don’t have to please anybody. I’m extremely happy with how things are going, have gone, and will go. I’m very grateful for my beautiful family and I’m grateful that I got to choose an artist’s life. But I don’t have to explain myself to anybody. I can tolerate living in the temporary uncomfortability of being misunderstood. At the end of the day, the feedback I get from people—including George Harrison which is of course extraordinary—but equally, and I promise you equally as meaningful to me, complete strangers, who are not known artists, who have said “We’re going through a hard time and we put on Austin Powers, Wayne’s World, whatever, and for that moment that your movie was on there was a truce in our house….” That’s all that Shep ever talks to me about, by the way, did you know that? He never talks to me about box office, he just keeps saying to me, “Do you know how much joy you bring people?” And I go, “I don’t.” But he goes, “That’s it, dude, your movies make people happy.”

    Do you see a lot of echoes of what you’ve done out in the culture?
    Constantly, and it’s unbelievably flattering. I noticed it when I got super sick. I had this horrible flu that was going around New York. It starts in the throat and then it went everywhere, and I was down, dude, and I couldn’t sleep I was that sick, and for eighteen hours the only thing I could do was watch TV. I propped myself up on the couch and just grazed. There were seventeen references to stuff that I had done.

    Somebody called somebody their Mini-Me without explaining it, somebody said somebody had lost their mojo, somebody said “schwing”, somebody said “you’re like butter”, somebody said “touch my monkey.” It was surreal. I thought I was hallucinating. But it was very gratifying. I was blown away. It was very surreal, and very satisfying.

    How would you like people to think of you these days?
    I don’t know. You can’t go there. It sounds so corny, but the only meditation you can do is love…alignment with…and making stuff. The insane absolute almost Newtonian law of just loving the art in yourself and not yourself in the art is the path to such amazing happiness

    So what I’m hearing is: you’ve got a lot more Colonel Sanders paintings in you.
    I do. A lot more GarageBands. And I have a lot more movies. I just make stuff, you know. That is absolutely the truth. That is the absolute truth.


    • After “The Love Guru” I think that he figured out that it only worked for him when he was personally involved in the work, so he avoids things that he doesn’t really love or have a personal connection to. For example, “Wayne’s World” was based on his experience or observations growing up in Canada (hence the hockey, the music, and so on) and “Austin Powers” had a lot to do with his dad and the relationship he had with him.


      • 15 Movies That Completely Ruined Actors’ Reputations


        After a successful career on Saturday Night Live, Mike Myers decided to take a shot at comedy on the big-screen. He started by making Wayne’s World, the 1992 hit based on one of his reoccurring characters on SNL.

        Afterwards, Myers became a pop culture icon as the cheeky British spy Austin Powers, making three films in the parody franchise. Riding high on his success, Myers lent his voice to Shrek, which was praised as one of the freshest animated comedies in years.

        However, Myer’s success came to a grinding halt in 2008 with The Love Guru. Criticized for being racially insensitive and simply rehashing old jokes from previous movies, The Love Guru was torn apart by fans and critics alike, and the comedian has been suffering for it ever since.

        Besides a brief stint in Inglourious Basterds, and a gig on The Gong Show, the comedian has been largely absent for the past nine years. Let’s hope if Myers ever comes back for Austin Power 4, he’ll make a movie that’s at least funny this time.


  57. 10 Actors Whose Craziness Got Them Kicked Out Of Hollywood:

    Mike Myers

    Remember when Mike Myers was the definitive name in Hollywood comedy, and now he’s been relegated to somebody whose name you think of now and again, only to find yourself thinking: “Oh, what happened to that guy who voiced Shrek?”

    Well, in his attempts to make you laugh, Mike Myers alienated a lot of people, unfortunately, which kind of put a pin in his already ailing film career. Rob Fried, a Hollywood producer, said of Myers: “His way of getting what he wants is to emote and threaten and express anger. It’s not healthy for personal relations.”

    So, yes: Myers has something of a reputation for being an overbearing crazy person who you absolutely don’t want to find yourself on the wrong side of. In the same way that James Cameron is rumoured to be frightening on set for being an ego-maniac, Myers has been described similarly. Which means a lot of people likely cried to bring you Austin Powers.

    Eventually, Myers managed to burn enough bridges in the making of his late-stage comedies (mainly The Love Guru) that nobody wants anything to do with him. Which is essentially the reason why he’s disappeared for such a long time – there are very few folk left in Hollywood willing to collaborate alongside such a self-obsessed maniac.


    • Have you ever met a celebrity who turned out to be a total douche?

      Mike Myers (again). My company made a line of novelty, talking key-chains. We did a sculpted bust of Austin Powers that had phrases from the movie activated by buttons (“Yeah, Baby!”). Mike Myers had to approve all likenesses of himself (in most cases, the studios or licensing agency can do the approvals). When we got our sculpt back after submission we found a note had been placed in the hollow underside – written by our sculptors, a husband and wife team – “Dear Mike, we are huge fans. Can we have an autograph?” Reply written on bottom of the note – “NO”. Later, when the product was pretty popular, as the Austin Power catch phrases had taken off, we would get a phone call at 5:00PM Friday, when everyone was getting ready to be done for the weekend, from Mike’s assistant. Mike was having friends over that weekend and could we send him a few dozen via overnight freight for him to give out. Freight was costing us a couple of hundred dollars for overnight, Saturday delivery. By the third time in three weeks, I told the assistant that I would give him the key-chains, but we needed his account # for the the freight. The surprised assistant said “but these are for Mike Myers”. My reply “then he can afford it”. That was the last time we got that request.


    • Directors Chewed Up by The Machine – Page 2

      Originally Posted by FatherDude

      What about Penelope Spheeris? Supposedly she didn’t get along with Mike Myers on WAYNE’S WORLD and he blocked her from being hired on the sequel. And the less said about BLACK SHEEP, the better. She has subsequently made documentaries (which is her original genre anyway), but I wonder how much personal preference versus burned bridges influenced the distinct lack of narrative features on her resume after a profitable string of studio comedies in the 90s.

      Myers has rubbed plenty of collaborators the wrong way, including Dana Carvey during that same period on Wayne’s World. So I can’t think its 100% her – although The Chris Farley Show certainly makes no qualms about her being horrible.


  58. Myers (along with Jim Carrey and Keanu Reeves) makes WatchMojo’s list of Top 10 Canadian Actors


  59. What Happened To Mike Myers & What is He Up To Now Days?

    Everybody knows Mike Myers. Whether it’s from his early success as hilarious metal-head Wayne Campbell in Wayne’s World, his pitch-perfect Scottish accent in Shrek, or his gut-busting roles in the Austin Powers trilogy (which he both wrote and starred in) as Austin Powers and his arch-nemesis Dr. Evil, among others, Mike Myers is one of the most famous comedy actors of all time. So, you might be wondering, where is he, and what is he up to in 2015?

    Mike Myers was born in Ontario, Canada, and became involved in acting at the ripe young age of two years old. By the age of ten had his heart set on becoming an actor. After graduating high school in 1982, Mike became involved in theatre and improv comedy, and even moved to London to found an improv comedy troupe, which he called “The Comedy Store Players.” He returned to Toronto in 1986 and by 1989 had joined the regular cast of Saturday Night Live.

    In the 90s, it seemed as if Mike Myers was everywhere you turned. Wayne’s World, a full-length feature film based on his Saturday Night Live character Wayne Campbell, was a huge hit when it was released in 1992, and is still fondly remembered as one of the greatest comedies of all time. He followed up that early success with frequent appearances in SNL, a Wayne’s World sequel, and then, finally, the enormously popular Austin Powers trilogy.

    By the time Shrek and Austin Powers: Goldmember rolled around in the early 2000s, it seemed as if Mike’s future in Hollywood comedy was set in stone. Part of what made him so popular was his diversity: over the course of the three Austin Powers movies, he not only portrayed Austin Powers, the hero of the film, but Dr. Evil, Austin’s enemy, as well! On top of that, he played Fat Bastard and Goldmember. Keep in mind, this was also a film that he wrote. It seemed as if there was no limit to his creativity and talent.

    So what happened to him? Shrek 2 came out in 2004 and then… not much else. A string of poorly received Shrek sequels, some TV specials, and some cameo appearances as Wayne characterized much of his post-Goldmember years, and each one was less funny and less memorable than the last.

    Besides a seriously wonderful cameo in Quentin Tarantino’s Inglourious Bastards and a seriously awful turn in The Love Guru, what has Mike been up to?

    He got divorced from his wife Robin Ruzan after twelve years of marriage in 2005, and then began dating a cafe owner named Kelly Tisdale in 2006. They kept their relationship private and out of the public eye, getting secretly married in 2010 after four years of dating. The couple has two children together: Spike Alan and Sunday Molly.

    In a bit of an unforeseen twist, Mike is also an avid Dungeons & Dragons player! in 2006 he participated in Worldwide Dungeons & Dragons Game Day. He also keeps himself busy by playing soccer for charity for Hollywood United Football Club, a celebrity team.

    It seems as if he’s just enjoying a low-key home life, after his whirlwind of success in the 90s and early 2000s. When a celebrity goes so far as to keep their marriage secret from the press you can rest assured that they’re probably pretty bored of publicity. However, comedy fans rejoice, because in January of this year, he signed a two-year contract with television network HBO! The details of the deal haven’t been made public yet, but HBO has said that they’re “tremendously” excited to work with him. Here’s to the return of Mike Myers!


    • 40 Stars Who Vanished Without a Trace From Hollywood

      Mike Myers

      Aside from the Shrek films, the last time anybody saw anything of Mike Myers on the silver screen was a blink-and-you’ll-miss-it role in Inglorious Basterds. He did, though, direct a documentary, and there are always rumors of another Wayne’s World movie.


      • Famous Celebs Who Vanished

        Post by 2coldfunk on 17 hours ago
        keezy Avatar
        17 hours ago keezy said:
        As far as acting goes, Mike Myers, Eddie Murphy and up until Goosebumps, Jack Black.

        Also, apart from Dumb and Dumber To, you rarely see Jim Carrey either, or he is often unrecognizable like in Kickass 2, it’s weird to see these once comedy giants rarely appear in movies now.
        Mike Myers basically “a**holed” himself out of the business, didn’t he? I’ve always heard that, for as funny as he is, he’s kind of a jerk and a pain to work with.

        Post by That Crazy Dan on 13 hours ago
        The only way another Austin Powers could work IMO is if they parodied the modern Bond or Bourne flicks instead. The time travel plot is pretty much played out, and that’s from someone who liked The Spy Who Shagged Me.

        Post by blackoutcreature on 9 hours ago
        For those mentioning Mike Meyers, I think “The Love Guru” did a number on his career. He’s always had a history of being difficult to work with and rather pretentious considering what his body of work includes. He supposedly once said he wanted to make a film with Frederico Fellini, a director who’s style doesn’t really mesh well with the Austin Powers crowd. And who can forget him insisting on completely redoing his voice work for Shrek just so he could do his Scottish accent? But he got away with it because he made money. Then “The Love Guru” completely bombed and it gave a lot of people who didn’t like him an excuse to not have to work with him.

        Post by 2coldfunk on 8 hours ago
        8 hours ago zrowsdower said:
        17 hours ago 2coldfunk said:
        Mike Myers basically “assholed” himself out of the business, didn’t he? I’ve always heard that, for as funny as he is, he’s kind of a jerk and a pain to work with.
        Can you elaborate some?
        The longstanding feeling on Myers has always been that he’s a bit of a dick, and far more of a perfectionist than he needs to be, considering the type of stuff he puts out. But, he made bank, so people put up with him. Then the Love Guru bombed harder than Fat Man and Little Boy, and suddenly, a lot of shit dried up for him.

        Post by Gojira on 8 hours ago
        Last time I have seen Mike Myers was him dressed as a Mountie on a episode of Last Week Tonight.

        But I guess he and John Oliver are friends cause they were both in The Love Guru. Have not seen Guru but I in my bit of research to make sure this fact is correct, I discovered Oliver’s character’s name is Dick Pants. Glad I avoided that one.


  60. forrestbracket

    leabeau here link farley as shrek what could have been.


  61. forrestbracket

    Leabu tell what you think of farely voice recording. No disrespect to him but he didnt much energy in it. He didnt add anythign special to it he just read same way he did his movies. myers version better


  62. forrestbracket

    There is documentary of chris farely life coming to theater. i wish there waS ONE about phil hartman life coming up. I thought he was funny snl . newsradio was bland after he died. A documentary of phil would be interesting he had to deal with his wife coke problems ..


  63. NBC producers recall Kanye West’s live “George Bush doesn’t care about black people” moment:

    A Concert for Hurricane Relief aired 10 years ago, on Sept. 2, 2005, following the Hurricane Katrina disaster. “I remember hearing the words that were coming out of his mouth and looking down at the script and (thinking), ‘this is not—this is not going well,’” Frank Radice, the show’s senior producer and musical director says, adding: “I remember saying [to someone] ‘it was good TV.’”


  64. John Oliver and Mike Myers Blast Canada’s PM Stephen Harper: ‘Do not vote for Stephen Harper’


  65. Groovy, baby! Mike Myers welcomes his third child


  66. Ryan Gosling and Mike Myers brought Canadian Christmas to SNL:


  67. A man is trying to raise $2,500 to get his Wayne’s World 3 script read


  68. What roles saved/ruined an actor’s/actresses’ careers?

    I’d say the downward spiral began with Goldmember, picked up steam with the disastrous Cat in the Hat movie, and finally hit rock bottom with The Love Guru.

    My guess is that he became a victim of his own success. A couple Austin Powers blockbusters and Shrek and the next thing you know people around him are either telling him what a genius he is, or they’re afraid to tell him when the joke is played out.

    Someone mentioned Eddie Murphy, and it seems to be the same thing at work. He made a shit ton of money making movies where he plays multiple characters, and so he ran that gimmick into the ground.

    The frustrating thing about Myers is that he’s got range. He can play serious roles. He could play a regular guy in a comedy. Instead, he just keeps going back to the wacky character well, and it has long since run dry.


  69. Mike Myers to fold the history of Canada into his own upcoming memoir


  70. 10 Actors Hollywood Forgot About


    If Michael Cera and Mike Myers are any indication then there’s definitely something about Canadians that just can’t take fame once they reach the peak of it. Or maybe it’s just people named Michael. Either way, Mike Myers seemed poised to take over the comedy world after the incredible success of his Austin Powers and Shrek films, until… That never happened. Then The Love Guru came. And it was pretty much game over for the once promising Saturday Night Live breakout.

    While Myers still enjoyed a long and successful career – longer and more successful than most on this list – we can’t help but wonder what went wrong. While it’s pretty clear why Hollywood chose to forget about Myers, we still are hoping for a comeback in the form of Austin Powers 4 – currently the only production he’s been linked to since his cameo in 2009’s Inglourious Basterds.


  71. Actors who crossed the line on set

    Mike Myers

    He may be funny while the cameras are rolling, but in between takes, Mike Myers is reportedly incredibly difficult to work with. His ridiculous antics on the set of Wayne’s World have been agonizingly detailed by the film’s director, Penelope Spheeris, who later told Entertainment Weekly (via Gawker) that she “hated that bastard for years.” “You should have heard him bitching when I was trying to do that ‘Bohemian Rhapsody’ scene,” she vented. “‘I can’t move my neck like that! Why do we have to do this so many times? No one is going to laugh at that!'”

    Even worse, Spheeris recalled a moment (via ABC News) when Myers spent hours on the phone with his manager threatening to quit because the set didn’t provide margarine. A meltdown over margarine? That’s not funny—that’s just sad.


  72. 15 Marvel Actors’ Worst Movies


    Even though Mark Ruffalo is typically terrific, he’s susceptible to the surefire dud that most would pay to wipe from their IMDB page. The nebbish performer has a few flops up for contention, among them agonizing dramas The Dentist (1996) and All The King’s Men (2006), though to play the Johansson card, the selection must make more than moderate use of its Avenger. As such, the pick for this list is rom-com debacle View From The Top.

    Enlisting a cast of Gwyneth Paltrow, Christina Applegate, Robe Lowe, and Mike Myers, View is a clinic in how romantic comedies can go wrong. Idiotic pacing, flaccid characters, and editing that borders on the incoherent, the film feels like a cinematic slap in the face with a wet fish. Joining in on the non-fun is Ruffalo, playing Paltrow’s love interest and an hombre as clueless as the rest of this merry band of airheads. Arriving only a year before his breakout appearance in 13 Going on 30, it was a marked low point for this Hulk of an actor.


  73. Sorry to ask but lebeau you stated carvey bigger star then myers during first austin powers. i thought they had equal footing . like myers dana biggest success was snl . its not like carvcey had hits before that


  74. Director Jay Roach Says A Fourth ‘Austin Powers’ Movie Has Been Seriously Discussed

    In news certain to thrill Spencer’s Gifts stockholders, there’s still a flicker of hope that Austin Powers will be taken out of suspended animation for a fourth cinematic adventure. Mind you, if you’re still scarred by The Love Guru, this might come across as more of a threat than a flicker of hope. Maybe even a flicker of doom.

    Trumbo director Jay Roach helmed all three entries that have shagged on the big screen, and in an interview with Larry King, he revealed to the aging show host that he and comedian Mike Myers have spoken about the prospect of doing another Austin Powers movie. In fact, it’s been a recurring subject of conversation for the two:

    “You know, [Mike Myers and I] talk about it every time we get together. I would say it’s in a latent phase right now, but someday if we find the right idea that seems to have it earn itself, for sure. Mike gave me the break of a lifetime in letting me direct [Austin Powers: International Man of Mystery] so I’m always good to go.”

    If you’d like to compare notes with where this puts us versus the last check-in, a fourth film has made all the progress of an unnecessarily slow-moving dipping mechanism. In fact, we might even be going a bit backwards. In 2011, it was reported that a deal to bring the spy spoof back was nearly done. Now we’re at a stage where Myers and Roach simply talking about the project feels like a development.

    Maybe everyone involved should shrug it off and get around to making the Austinpussy movie-within-a-movie instead. Let Ryan Murphy in on the action and you might get a hit FX miniseries out of that turnip.


    • Where Does A Planned ‘Austin Powers’ Sequel Fit In The Modern Movie Landscape?


      • Why we never got to see Austin Powers 4

        Mike Myers had a run of bad luck

        Austin Powers began as the brainchild of comedian Mike Myers. An alumni of Saturday Night Live, Myers began work on the first Austin Powers movie at the behest of his then-wife Robin. In short order, however, the project became a labor of love. Myers had grown up watching British spy thrillers with his father, and Austin Powers became a sort of tribute to their relationship.

        In short, a fourth Austin Powers couldn’t happen without Mike Myers, and the past few years have had their share of trouble for the comedian. Myers divorced his wife in 2005, whom he’d often referred to as his “muse.” He’s also suffered some career woes as well. Apart from the animated Shrek series, in which Myers voices the title character, his post-Goldmember big-screen outings have proved more embarrassing than exciting. As the title character in The Cat in the Hat, Myers earned negative reviews, and after spending several years away from live-action work, anyway, he returned with 2008’s The Love Guru—which bombed at the box office and earned some of the worst reviews of his career.


  75. Mike Myers, Eddie Murphy, John Travolta and Jim Carrey on WatchMojo’s Top 10 Actors That Have Lost Their Mojo


  76. Mike Myers Isn’t Opposed To The Idea Of It Once Again Being Party Time For ‘Wayne’s World’


  77. Amy Hill on being Hollywood’s ”go-to Asian” and why working with Mike Myers was hell

    AVC: Since I’ve been picking projects you really liked, what’s a project that you didn’t like working on? Or that you at least found to be really challenging?

    AH: The Cat In The Hat.

    The Cat In The Hat was with Mike Myers who, if I saw him today, I don’t think he’d even remember who I was. He is like a little hermit. He would come in and, I guess, be in hair and makeup. We would wait. I’d be there at the crack of dawn, waiting. We would all be waiting for Mike Myers to come.

    He had his handlers dress his trailer, and his area was all covered with tenting because he didn’t want anybody seeing him. It was so weird. It was just the worst. It was like I was there forever, and my daughter was 2 and a half and I felt like I was missing her first everything. I was miserable. I just thought it was really rude for him to not take all of us into consideration.

    And the director [Bo Welch] was really lovely, but it was his first time directing, and he deferred to Mike so much. Mike would do a take, and then he’d go over and look at the monitors, and then he’d talk to the director and then we’d do another take.

    It was just a horrible, nightmarish experience. I don’t think he got to know anybody. He’d just be with his people and walk away. People would come and then he’d stand there. There was a guy who held his chocolates in a little Tupperware. Whenever he needed chocolate, he’d come running over and give him a chocolate. That’s what divas are like, I guess. Or people who need therapy.



      It’s a controversial opinion, but I think “The Grinch” works, by and large. There are weak spots, sure, and it’s a movie that didn’t necessarily NEED to be made, but it runs on a similar principle to “National Lampoon’s Christmas:” take something immediately recognizable and nostalgic, and leave big space for your comedic genius of a lead to go wild within that framework. In terms of his “big comic creations,” I believe Carrey’s Grinch was his last success.

      Myers, unlike Carrey, is a character comedian but not a deeply creative improviser. He can create a character but not run wild with it. As such, “make Myers the Cat and let him go nuts for ninety minutes” is a recipe for disaster, not success. Even if you dropped an immensely talented, undisputedly legendary character comedian into the role, you wouldn’t have gotten much better results. (Imagine, for instance, a Peter Sellers Cat in the Hat, or a Hugh Laurie one. Still a disaster.)



        Myers’ story wouldn’t be nearly as interesting if he were truly a no-talent hack. But the reality is that there was a time period when everything he touched turned to gold, and a lot of that success had to do with his personal creative input. Austin Powers wasn’t a big phenomenon because the studio pumped it up–it was big because after a modest opening, it was big on VHS and DVD, and people quoted its jokes for years afterwards. The irony is that not only the specific jokes but the entire comedic sensibility that Myers brought to the film are now passé specifically because it was so popular for so long.

        What’s interesting about this is that Myers does have a specific gap in his talent set that has hurt him: an inability to innovate. Comedy is quite similar to music in this way–most bands get tired of their old sound and change it completely (Bob Dylan is a classic example), which initially causes a lot of dissatisfaction but is ultimately necessary to keep an artist from stagnating. But there are some bands unable or unwilling to change . . . which doesn’t mean they are a bad band per se, but anything that doesn’t change can’t grow. Coldplay is pretty decent example of a band that has talent, but basically sounds the same as they did a decade ago.

        Anyway, I think Myers is stuck in a similar sort of trap: the thing that hurt him most was that he did not grow dissatisfied with his own work, and couldn’t understand when everyone moved on when he didn’t change.


        • Mike Myers always struck me as essentially, a great idea man who doesn’t know or is to stubborn to compromise or ask for help from others. He simply isn’t flexible enough of a performer since he’s too much of a controlling perfectionist. In his world, it’s pretty much “his way or the highway”! And if he doesn’t get his way, then he’ll act like a petulant, spoiled brat. Hence, why Mike prefers to “shadow direct” instead of trusting (or being more willing to collaborate/listen) the director.



        Mike Myers seems to be a good person, but Jodi perfectly summed up my problem with him: “his inability to mature his comedy or be innovative”. That Gong Show s*** is more of the same. It’s too bad, because he coulda been a contenda.


  78. Why Mike Myers doesn’t get many movie offers anymore

    Mike Myers made the jump from Saturday Night Live to the big screen with two adaptations of his silly SNL skit Wayne’s World, and kept hitting paydirt with his James Bond parody character Austin Powers in three wildly successful movies. He also served as the unforgettable voice of the green ogre Shrek for four films and a series of spinoffs—but then, as if Myers himself had received the “happily ever after” promised to his ogre incarnation, he seemed to drop off the face of the earth…or at least the face of Hollywood.

    What happened to turn an unstoppable comedy juggernaut into a virtual recluse? Here’s why Mike Myers doesn’t get many movies offers anymore.


    • The Real Reason Hollywood Stopped Casting Mike Myers


      • Mike Myers is one of those type of actors that I think got lost in the age of the internet. Like he could make a killing doing skits and uploading 5-10 min videos. Dana Carvey was on the Comedy Bang Bang podcast a while back and he mentioned a few times how interested he was in the range of new platforms for comedians to get their material out there, and how he wasn’t sure how to enter the field now.


  79. To add to those points, Mike Myers in general seems like a guy who out right refuses to compromise is vision. As a result, it’s very easy to label him as being “difficult”. In “Wayne’s World” for example the classic Queen sing along scene instead, would’ve been a Guns and Roses sing along had the studio gotten its way. Mike refused, to the point of almost shutting down the movie. In fairness, that scene in all likelihood would not have worked so well without “Bohemian Rhapsody”. So in that regard, you do have to respect his guts.


  80. ‘We’ll take your f***ing house’: Sherry Lansing threatened to bankrupt ‘shaken’ Mike Myers after learning Wayne’s World 2 script was based on a 1949 film


    • ‘Wayne’s World 2’ Was Completely Rewritten At The Last Minute, Here’s Why

      As far as comedy sequels go, Wayne’s World 2 is among the better ones. Even though it’s not nearly as good as the original Wayne’s World, it’s still much better than all but three of the other movies based on Saturday Night Live characters, and even ended up towards the top of our list ranking all of them. But the sequel that fans enjoyed would have been drastically different if Mike Myers had been allowed to use the idea he originally had. Instead, the Saturday Night Live star was forced to rewrite the script at the last minute. So why was Wayne’s World 2 rewritten? Find out below

      The Hollywood Reporter pulled a story from a new biography by Stephen Galloway about former, legendary studio boss Sherry Lansing, who was once the chairman at Paramount Pictures, which distributed both Wayne’s World and its sequel. In the book, the original idea for Wayne’s World 2 was explained by Saturday Night Live creator and showrunner Lorne Michaels, “Mike had always wanted to do Passport to Pimlico as the basis of Wayne’s World.” If you’re unfamiliar with the 1949 British comedy, here’s the synopsis for Passport to Pimlico:

      “The accidental explosion of an undetonated German bomb left over from World War II unearths a long-buried cellar containing both fabulous riches and a previously unknown royal charter from King Edward IV that cedes the surrounding land to the last Duke of Burgundy. Since the charter has never been rescinded, the London district of Pimlico is now legally the long-lost Duchy of Burgundy, and therefore no longer subject to British law, including postwar rationing and pub closure hours.”

      Now I’m not sure how Mike Myers would have adapted that into the style of Wayne’s World, but maybe there was a story there where Wayne discovers his house isn’t within the jurisdiction of United States law or something like that. Or maybe the concert plot from Wayne’s World 2 was still in play and they decided to throw it in an area that was free of the usual rules for music festivals.

      Wayne’s World 2 Rewritten

      Why Did the Original Wayne’s World Get Scrapped?
      Lorne Michaels went on to explain that Mike wrote the script with his original idea intact, “I think he believed the studio understood that, and I think he even believed they had bought the rights to the other movie so that he was free to use it.” However, that was not the case, and Myers was not made aware of this until after the script was done with only a few weeks before shooting was supposed to begin.

      If Paramount Pictures decided to make this movie based on Passport to Pimlico without having the rights to that movie, the rights holders could have filed a lawsuit to stop the film from being released. Paramount could have just gotten the rights to the movie, but with such a short window of time until production started, there was nowhere near enough time to negotiate a deal. So Mike Myers had to rewrite the script, and he had quite the motivation because Sherry Lansing really laid into him at the time.

      In the book, one person who was sitting on in the meeting where this revelation was made recalls Lansing threatening Myers in the way that you think only ever happens in movies or Entourage. This person explained, “[Lansing] said, ‘How dare you? How dare you put us in this position?’ She turned to Mike and said, ‘We’ll sue you. We’ll take your f—ing house. You won’t even own a f—ing home.’”

      Apparently Myers was so scared at this point that he was curled up in the fetal position on Lansing’s couch, clearly devastated by this news and the prospect of trying to fix the issues. But Lansing gave him the perfect pep talk when she said, “If I were you, Mike, I’d go to Lorne’s office right now and stay there until you come up with a new script. We’ll slide food under the door.”

      As we know, Mike Myers rewrote the script, and the result was a solid comedy sequel. Myers was even able to incorporate some British humor into it by having Ralph Brown play a legendary British roadie named Del Preston, using stand-ins to make it look like Wayne and Garth went to London and hit some of the tourist hot spots. So Myers got his mega happy ending for Wayne’s World 2, but now I want to read that original script.


  81. ABC reboots The Gong Show with surprising host

    ABC is rebooting a popular 1970s game show, and they have found a pretty surprising host. According to The Hollywood Reporter, Saturday Night Live alum Mike Myers will take the lead on the project, but he will remain in character as “Tommy Maitland” the entire time.

    This means that the upcoming reboot won’t include Myers’ name anywhere: not on any promotional materials, anywhere in the show, or even on his official list of credits. In fact, ABC wouldn’t even confirm that Myers– pictured in costume as Maitland at the top of this story– was actually the hidden host. Matiland’s fictional past credits include a number of spaghetti westerns in Italy which gave him a cult following, a few James Bond knock-off films (a la Myers’ Austin Powers franchise), and an Australian game show called Dingos Got the Baby. Maitland, who can be found on social media with the username @MrTommyMaitland, will step into the role previously filled by the late Chuck Barris, who hosted the talent show from 1976 to 1980.

    Maitland will have a number of celebrity guests backing him up, including Will Arnett, whose production company is behind the reboot, Zach Galifianakis, Alison Brie, Andy Samberg, Elizabeth Banks, Joel McHale, Dana Carvey, Will Forte, Jack Black and Anthony Anderson, among others. The celebs will serve as judges who give comments and “gong” the contestants who have especially awful acts.

    “I’ve been a huge fan of Tommy since I first saw his stand-up in the U.K. while traveling as a teenager,” Arnett said in a statement. “He was so funny and original. I had the good fortune to cross paths with Tommy a few years ago and ever since we’ve talked about working together. I tried for years to come up with a vehicle that was suitable to expose his immense talent on a bigger stage, and The Gong Show is the perfect fit.”

    Maitland, in an in-character interview with THR, said he was joining the show after a few years in retirement due to some money problems back in England. The host says he already has some catch phrase ideas, including him saying, “Who’s a cheeky monkey?” and the audience responding “You are.” He then replies, “No, you’re a cheeky monkey, and that’s why I love you.” He says another catchphrase is a variation on the saying, “You’ve got no proof.”

    As far as how he plans to make the show different from Barris’ version, Maitland says he wants the acts to “speak for themselves.” “While it’s true many of them have willingly crossed the line of dignity to come onto the stage, you do have to salute their bravery,” he said. “I’m hoping this will be a place for people who don’t normally have a venue to do things like play the bagpipes with their nose or do anything with a unicycle.”

    The Gong Show will premiere on June 22. In the meantime, see why Myers hasn’t had a hit movie in years.


    • How Does Mike Myers Still Have A Career? – Page 2

      Myers started to be a bit of a hack as early as Austin Powers 2. Being described as comedically cautious is the best description.

      I truly believe if you had to pinpoint a time when his career went off track it was when Kanye went off script during the telethon. You could see Myers couldn’t think on his feet at that moment. He can’t improvise. And he was the center of a lot of jokes.


      • Why most studios don’t want to work with these a-list stars

        By Sigal Charlie Stark, Apr 9, 2017

        Mike Myers

        We could not believe that funny man Mike Myers is actually super controlling behind the scenes, making filming with him harder than it looks. Myers is known to those in Hollywood as a total perfectionist who doesn’t let anything go by without his approval on it. Cast and crew of his films know that he is hard to handle, which is why after his hit Austin Powers films, his roles were mostly voice over ones.


    • @KenTucker says the revamped #GongShow has its downfalls, but it’s still more fun to watch than anything else this summer


    • The about Mike Myers is that not only did he gain a reputation as a bit of a control freak, but also weirdly method. There for instance, have been stories from cast and crew of “Austin Powers” that if he was playing a character that day, he was the character that day. So for example, you’d be stuck with Fat Bastard all day long on set.

      It’s okay to be that weird when you’re making hits but when you start bombing out, Hollywood loses patience fast.


    • Mike Myers On ‘The Gong Show’: Brilliant Or Desperate?

      Last night’s premiere features Zach Galifinakis, Ken Jeong, and Arnett as the celebrity guest judges, and Maitland leaves us with no shortage of one-liners and quirky host asides. Much like the 1970s show, the acts are completely bizarre – the banana couple above offers a small hint of exactly the kind of stuff you’ll be privy to as a viewer – but admittedly, the show’s a lot of fun. The judges are great (and genuinely seem to be having a good time), the contestants are wacky, and the overall vibe is pretty fresh compared to many of the other talents shows currently on television. It’s nice to have a little freedom from the sob stories and high stakes of so many other reality competitions out there. At this point, I’d much rather watch a jump-roping aficionado than another season of American Idol. The show is fine without a ton of bells and whistles. So why hide Myers behind rubbery prosthetics and a relatively middling character?

      The initial gag of Tommy Maitland seems very on-brand for Myers – the actor has never shied away from a ridiculous getup before. The novelty of Maitland’s presence on The Gong Show, however, becomes tired quickly. With such a great lineup of judges, why not just let Myers host the show as his kooky real-life persona? He’s got enough charisma to do the job, and he’d probably be free to do a little more without all of that latex on his face.

      From a publicity perspective, it’s not dumb. Pitching The Gong Show to an audience probably largely unaware of its existence or premise needed some kind of intriguing component or stunt to get people talking, and guess what? They achieved it with Maitland. But the middling result of his actually hosting the show – which evidently is a repetitive caricature who echoes phrases like “cheeky monkey” – doesn’t offer the laughs that ABC probably planned on. If they’d just announced that Mike Myers – yes, that Mike Myers, the Austin Powers/Wayne Campbell you know and love – would be hosting The Gong Show, they probably would have received just as much attention, and Myers might have a little more unrestrained fun with the slew of top-notch judges. While capturing the eccentric, off-beat quality of the original show may be important, Tommy Maitland evidently stands in the way of this endeavor rather than assisting it.

      So what’s the verdict? Brilliant stunt, desperate execution. Tommy Maitland was a good buzz-starter, but Myers is perfectly capable of carrying The Gong Show home on his own – he’s enough of a legend at this point to create his own shtick without the help of a hokey British alias.


  82. Austin Powers Had to Edit Out Mike Myers’s Butt Cheek to Dodge an R Rating

    By Jackson McHenry

    Nowadays, a raunchy adult comedy like Austin Powers would wear its R rating with pride, but back in 1997, the film needed to aim for PG-13 — all the better to ensure DVD sales, something that still mattered back then. In The Hollywood Reporter’s 20-year anniversary look back at the film, director Jay Roach reveals that, as you might expect, the film initially got an R rating from the MPAA and had to negotiate and make cuts to get the rating lower. “The nudity blocking was something the MPAA wanted to be sure we didn’t go too far with: the cheeky phallic references, like Elizabeth [Hurley] biting the sausage and holding the melons up,” he said. “But they were all pretty innocent body-shape jokes.” The real sticking point, Roach explained, was Mike Myers’s butt: “The only thing they asked us to do in the final cut, which was kind of surprising to me, was they thought there was too much butt-cheek on Mike when he got thawed out, so I went for a slightly more profile version.” Now, our feelings about getting an eyeful of Mike Myers’s butt specifically may vary, but we cannot deny the fact that censorship is alive and well in America and it is depriving us of man butts!


  83. 15 Actors You Didn’t Know Humiliated Their Fans


    Funnyman Mike Myers is another comedian who makes the list with an apparent disdain for getting free drinks. According to a particular fan’s account – he spotted Myers at a bar in New York City, drinking a beer and watching a soccer game on the television.

    Being a big fan, the Redditor decided to approach the Saturday Night Live star, keeping in mind to not come off as creepy or intrusive. Upon coming up to Myers, he told the actor how much he admired his work, before offering to get him a free drink just before paying him and his friend’s tab. Myers’ showed his appreciation by responding, “I can afford my own drinks, a**hole, save your money for my next movie.”

    Shocked and speechless, the fan and his buddy took off without saying another word.


  84. Mike Myers exits ‘Del’, biopic about his @TheSecondCity mentor, as financing collapses


  85. Great movies almost ruined by one bad performance

    Inglorious Basterds – Mike Myers

    Quentin Tarantino’s Inglorious Basterds will be remembered for a lot of reasons. Not only did the film giddily rewrite history by giving Adolf Hitler and his Third Reich cronies the brutal ends they earned, it also made a star of relative unknown Michael Fassbender and made an Oscar Winner of Christoph Waltz.

    While Tarantino has always had a knack for casting exactly the right person in exactly the right part—and resurrecting a career or two in the process—his casting of Mike Myers as a high-ranking British officer on Inglorious Basterds was one of those WTF moments that we still can’t quite get over.

    Not that Myers wasn’t worth the risk. He’s proven time and time again that he’s capable of doing great things with the right part, and Tarantino has consistently proven that he can make almost any risk pay off, but both of them missed the mark on Inglorious Basterds. Myers seems to be trying so hard to not do Austin Powers that he ends up just doing a toned down version of Austin Powers. His appearance in the film—even behind all that make up—feels more like a stunt than a risk. One that proves distracting to the point of taking you out of the film altogether, and we should never want to leave a film where Hitler and the Reich finally get what’s coming to them.


  86. 15 Shocking Actors Hollywood Won’t Cast Anymore


    Sometimes somebody just makes so many unsuccessful movies that it’s time to stop giving them more chances. There’s no denying that Mike Myers was a bona fide comedy star for decades.

    His rise began on Saturday Night Live. From there he appeared in comedies such as Wayne’s World and Austin Powers, which are a testament to Myers’ character work.

    However, Myers then began to go too far with his routine. He turned the Austin Powers franchise into a parody of itself and other efforts like The Cat in the Hat and The Love Guru horrified more people than they made laugh.

    Add to all of this an allegedly belligerent attitude, and it’s easy to see why Myers has disappeared from movie screens. Even his recent stint on television’s new Gong Show sees him disguised as a character and hiding his identity.


  87. Mike Myers’ biggest problem is that he can’t seem to trust anybody around him. He pretty much allowed his ego and paranoia over others stealing the glory and spotlight from him bring down his reputation. Mike also can’t seem to take constructive criticism or be able to consider other people’s suggestions (out of fear that somebody else will get more credit if things turn out well).


Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s

%d bloggers like this: